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Post by supergroup7 on Jun 13, 2007 21:53:12 GMT 8
Alright. Here's my feedback based on the second video.
1. Your uke did not punch you. She punched to her left. If she had punched centreline, you would have been hit. 2. I think you're taking the side on approach too literally. You are also focusing so much on the technique because you think that as a video on bunkai, the technique needs to be exactly like the kata. I think that in the spirit of technique demonstration, especially if you're lacking "experience", you should think about oyo, rather than bunkai. Oyo meaning variation or 'spirit of' the kata or a reviewed sequence of technique specifically to defend against what your opponent is sending your way. 3. I may be wrong, but I think you're demonstrating the techniques in sparring mode. Bunkai needs to be done to obliterate the opponent. I think you're not using this understanding to draw the most out of your bunkai. When I see your maai, you seem to have stopped short - your opponent seems to have the upper hand in terms of distancing. 4. Your hands ... they're down. It may be interesting to see how the techniques are applied if your hands are up. 5. I may be wrong, but I think you're performing the techniques, or at least trying to perform the techniques in a flawless succession. This doesn't work in karate. Bruce Lee said something about broken rhythm ... applied here means that your strikes or blocks should not be done like an orchestrated or aerobic class count down ... 1-2-3-4-5-6-7. The techniques need to be applied to what is thrown at you. Move-Deflect. Block-strike. Trap. Strike-takedown. Strike. Does that make sense? 6. Did you see that your front hand attempted to block the oncoming strike before striking out again? :-) Maybe you should try my sequencing?
Colin
Ooooo.. Thank you Colin!
Yes, I could "feel" that my Uke was punching strange, and that I would have been hit. I can see that I'm taking the side on approach very literally. However, "side on" is how I'm constantly performing this kata. As a Shotokanist, I get remonstrated if I let my hips swivel too much.. they are supposed to stay pretty much locked in a straight position, and the most that I can let them do is vibrate on the hook punch, or down block. I would want to get into "oyo", and break out of the box, but then would I be leaving the lessons contained in my style?
Yep.. I stopped short.. you caught me. I felt myself freeze, and refuse to go farther. I agree.. there has to be that "obliterate the opponent" action developed.
Hands? Down? Up? Where? At the beginning? Aren't they supposed to be down? Isn't that how the kata starts? I'm locked in that box pretty solidly, aren't I?
"The techniques need to be applied to what is thrown at you. Move-Deflect. Block-strike. Trap. Strike-takedown. Strike. Does that make sense?"
Yes.. total sense.. I'm facing the same problem here as I did when I had to transition from Kihon ( basics) to Jiju Kumite ( sparring). For years I had been told to get my pull back hand all the way to my hip when I countered for basics.. then when I needed to learn to spar, and I'd pull my hand back to my hip.. POW in the kisser! Suddenly the rules had changed, and I needed to keep my guard up. It was a totally different world. Although I have to admit that the new world of sparring did contain traces of what I had been doing from the beginning, I needed experience to learn where these similarities existed.
Yes.. I saw my front hand just naturally do what it was supposed to do, and attempt to block that oncoming strike. In fact, I even felt a slight annoyance at that instintive reaction.. ha ha ha. I did try your sequencing of that movement. Gosh it works smooth, and easy. A part of me was hoping that the same would happen with my attempt to put forth a bunkai for that move. It feels "almost there" inside of me.. like it's just missing one piece of the puzzle, and it would work.
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Post by supergroup7 on Jun 13, 2007 22:28:37 GMT 8
" Begging your pardon however, it is difficult for me to tell you if I think what you have demonstrated for the first video (couldn't see the second one yet) is 'valid' or not." Colin
"As in "valid", I'm looking for confirmation that what I think that I'm achieving is a possibility. Since I am just starting to look seriously at kata bunkai, I'm not sure that what I think is happening will, and can happen." Mireille
Mir - you are a Shotokan Black Belt. Even though you are my friend, I am saying this because I am trying to be respectful, polite and am trying not offend you. Colin
Oh.. I'm not offended... not in the slightest. I'm happy to learn more about what I know, and what I do not know.. this way I can fill in the gaps, and become even BETTER.
Here are my comments. 1. You may not be able to deflect the oncoming linear strike without either moving aside more quickly or if you don't use your back hand to do some of the deflection or if you don't use the open palm strike to deflect the oncoming strike. Colin "I did find it difficult to do a circular knee block to block the oncoming punch, but I felt that it was more due to my limited hip flexibility. I couldn't bring my knee up high enough. Once I asked my partner to lower her punch, it was comfortable to bring my right knee up, and around, and sweep away that punch with no effort to land my foot on the inside of her lead leg. I also found that my upper arm also contributed to creating a form of deflection as I sent the back of my hand towards my opponent's ear.
Tekki shodan is done in low riding stance. At such a stance, your opponent should want to take a swipe at your head - not your hip. Will you be able to deflect this with a knee raise? If anything the knee raise would be a good defence against a kick punch combination. Did you think of that? No effective opponent will strike only once. Many people naturally would kick first then strike with their hands next. Colin
I can see that.. From what I've noticed, most fighters like to send punches to the head first... and then work the body as a second choice. I'm not sure if a head punch can be deflected with a knee raise. I've seen some Tae Kwon Do, and Muay Thai fighters bring their knees pretty high, and pretty fast. Would a knee block be my preferred technique to blocking a head strike? NOPE. So.. are you suggesting that I consider my Uke's opening strike to be a linear kick like a front snap instead?
2. There are some merits for you to strike the ear with the back of the hand. This is slightly unorthodox, and might not be as effective as a palm strike, but it does merit some good points to you. Colin I realize that it is unorthodox. The reason that I considered it is that I had been thumped on one of my ears awhile back, and BOY did it have quite an effect on my ability to see straight, and walk straight for quite awhile. The doctor told me that there was swelling in my inner ear, and my sense of balance has been affected.
Again it is a valid interpretation. I like it.
What I think you have not demonstrated is 'shotokan' power behind the open palm strike. But I take it that your uke is your daughter. :-) Might not be good to hurt her. :-) Colin
Ha ha ;D What a compliment to my student! She in not my daughter. I'm sure that my student will have an ear to ear grin when I tell her that she looks young enough to be my daughter. Wow! The girl in the green Inuyasha T shirt standing in the background is one of my daughters. In my second video you can see some more of my young students standing there watching the bunkai. I already have their parents permission to video tape them. One has to be careful about privacy laws and such. I warned my students... "If you stand there... you will be in the video that I'm putting on the internet." There was a rush to go stand there.. Weren't they such a nice background?
Yep.. Shotokan power was NOT there.. *hangs head in shame* I'll redeem myself.. just give me some time to get the hang of this whole realistic bunkai aspect of kata. Up until now, I've been doing the more "set" type of bunkai.. You know the kind that I mean, right? The opponent is in front stance, and sends a high punch, you move forwards in front stance, and do a high block.. next... and on and on. There is value to this in helping one learn, but I think that we have to graduate to the thought of "How would this technique/ combination of movements work in real time, and real confrontations with someone who will not get into a karate stance, nor follow the proper technique?"
3. I think there is great merit in using the elbow strike against the opponent's arm/tricep. This is a good and solid application irrespective of you practice hard or soft styles. Colin Thank you Colin. What I noticed as I performed this was that locking that arm into my hip, and then striking the bicep/tricep was pushing the shoulder up and out. I remembered your explanation about how the shoulder is a floating joint that is easilly dislocated with a sharp jar in that direction.
You're right. It's a devastating technique. Good one. Colin
;D ;D OH yeah! Boo yah! There we go.. one down.. the rest to conquer. ;D ;D
4. The lower block as kotegaeshi I think is not a very smooth interpretation. Many people think the lower block is a throwing bunkai, but from the angles in which you are approaching the opponent, this is not very plausible. I would hesitate to say that once you destroyed the arm with the elbow strike, the opponent might come back at you with a left roundhouse. This roundhouse could be blocked using the lower block, by stepping through with your left back leg. Then the punch across the body can be done onto the opponent's ribs. Colin My hope is that a) I've already sent my opponent's head ringing with pain from the ear strike, and ruined his/her sense of balance, b) I've put my opponent into severe pain by dislocating their shoulder.. so now.. I CRANK up the pain by grabbing the already injured arm and twisting it in the opposite direction. Now their wrist, elbow, and shoulder are all screaming with pain, and my opponent just wants it to stop therefore they will throw themselves towards relief.
If you've hurt the opponent, the opponent would be doubled up and angled toward your right. Kotegaeshi may not be a natural technique from this position. It may be more suited to step forward (jamming/dislocating the elbow with your hip) and lower block right to the neck (putting the attacker out of his misery). Or if the person is standing a little more upright and you yank on the extended arm and the guy takes a half or one step forward, you use your lower block under his arm and strike him in the NUTS. Gawd! Across the body punch there goes directly into the guys' temple. Yes!
Colin, I've seen moments where you purposely guide your opponent in one direction to unbalance them, and then whirl the power in the entirely opposite direction which sends them flying. That is the concept of what I was "leaning" on.. I have to admit that it felt awkward to try to achieve that feeling with the Kotegaeshi. Yet.. I've felt awkward before ( at first ) until I thoroughly understood what I was doing.
Thank you so much for all of your comments, instruction, and guidance. My eyes are starting to squint open at possiblities, and outcomes. I'm hoping that by sharing my beginning struggles with this perhaps I will help other black belts at my level to investigate the deeper lessons of kata without fear of looking dumb. One has to start somewhere.
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Post by Colin Wee on Jun 14, 2007 9:36:33 GMT 8
The stuff Mir has just posted above was taken out of private emails - and represents my friendly and constructive criticism. The main thing I'd like to say is that it takes an extremely brave and foresighted person to do this, and that not many other martial arts instructors would be so open to learning. Good on you, Mir. I won't go into the details of your email now, but I'd like to cover one main issue that arises out of your various questions. The first concerns the side-on approach. In my reading, I found out two main things which supports some of my initial interpretations for Tekki bunkai. Firstly, Choki Motobu, Funakoshi's contemporary believed that "Twisting to the left or right from the Naifuanchin stance will give you the stance used in a real confrontation. Twisting ones way of thinking about Naifuanchin left and right, the various meanings in each movement of the kata will also become clear." Secondly, reading up Ian Abernathy's blog, he says that the embusen is there to teach the practitioner how the technique is applied in relation to the attacker, rather than from the user perspective. Both of this I take to mean that the side on movement is a guide or (like how I was taught) a parameter, and variations within this parameter are good - and in fact would emulate other basics that we learn. And then from the Abernathy blog, the embusen teaches us that we should approach the opponent from *his* side, rather than from our using a side-on approach. I myself probably did not make this clear in my own video. But many of the examples that I have proposed for Tekki bunkai shows me attacking the opponent from the side. The first application itself shows a block using the back hand, open palm strike to the face, then I move into a down block position from the opponent's right side - into a takedown. This may be a departure from Matsumura's usage of Tekki. Dr Clayton thinks that in a bodyguarding scenario, one should not step away from the principal, whereas I show many where I do step away - some where I do step forward, rotate and then step back. Choki Motobu did say that he taught his 'own version' of Naihanchi - meaning that there may be a variance in interpretation even during his time. However I'd say off the bat that his interpretation seems extremely practical to me, and if it does combine an 'aiki'-like art (Motobu's family art was very aiki-like), then my interpretation may be similar to what he may have elicited from the kata. en.wikipedia.org/wiki/Motobu_ChokiColin
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Post by Colin Wee on Jun 14, 2007 12:49:09 GMT 8
As a Shotokanist, I get remonstrated if I let my hips swivel too much.. they are supposed to stay pretty much locked in a straight position, and the most that I can let them do is vibrate on the hook punch, or down block. I would want to get into "oyo", and break out of the box, but then would I be leaving the lessons contained in my style? It depends on which lessons you are referring to, Mir. As I mentioned before in my last post, Choki Motobu open-site.org/Sports/Martial_Arts/Japanese_-_Okinawan/Karate/People/Motobu_Choki/ said that the twisting of the hips left and right would allow you to emulate most stances required in a real street fight. Or in his case, a real fight in Okinawa's red light district, mid 19th C. All I can say is that if I were told I had to stand in a horse stance and move left to right whilst remaining facing forward, I would find great difficulty in any fight. I don't think I'd be able to last. The kata starts that way. But when action starts, both hands are crossed in front of the body. I think the beginning yoi stance is where you break out of grab from the front - but in my mind, that's not when the action starts. The action starts when that person in front of you drops backward, clutching his broken nose after crashing into your head. The rules didn't change. You were taught to pull your hand back to your hip, but you weren't exactly told that the hikite was pulling your opponent onto your special 'TKO' lunge punch. Most everything at the kihon level is meant to destroy the opponent - at least part of his body - or thrust him backward hard. But before you are able to commit to a blow like that, there are times when you miss, or you have to deal with rebukes, or an opponent that just sidestepped. There is no point in committing when the opponent is not there. That is where sparring is - the opponent and you are feeling each other out. That is where your back hand needs to be held up. Check out [urlhttp://traditionaltaekwondo.blogspot.com/search/label/HIkite[/url] Look at the picture of Konishi Motobu. Choki Motobu didn't think that the hand really needed to be brought back to the hip/ribs during the hikite. More likely he would leave it protecting his body - like most modern day sparring competitors should do. This would help you deal with the increase of speed needed when your opponents and yourself are not as concerned with pain/injury/death. It's funny - when you get really serious opponents going at it, the speed oftentimes drops down a notch, but it becomes no more dangerous or difficult. This is what I feel and encounter all the time. Sometimes a solution is staring at you. Sometimes you've got to work at it. Keep it up! Colin
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Post by Colin Wee on Jun 14, 2007 13:00:40 GMT 8
Oh.. I'm not offended... not in the slightest. I'm happy to learn more about what I know, and what I do not know.. this way I can fill in the gaps, and become even BETTER. I know. I just find a slight discomfort knowing that I'm not a shotokan karate-ka and that I might be giving you the wrong information. I am suggesting that it is a good possibility that the person could be closing the gap and distracting you with a front kick before he strikes out with a lunge punch. So if you want to think about the knee raise as a way to block a kick, you might need to also contend with a punch or upper section strike in quick seccession. This may be a good way to use your opening sequence. Who knows. All white people look the same to me. :-) Cute. You're doing fine. Yes you have. However, for those instances where you've seen such a technique, I am facing the same side as the opponent (basically in an open stance). My front leg is behind the opponent's lead leg for irimi/kokyunage and in front of the lead leg for kotegaeshi. If you attempt to switch stances and then proceed to do that move with circumfrential force, then yes ... it would work. I am also on the path and I am scrounging through meagre skills to try to solve some very big puzzles. I like it that we're sharing. Colin
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Post by supergroup7 on Jun 14, 2007 22:43:09 GMT 8
Colin, I'd be curious to know if our Kung Fu martial art friends do more "side" style fighting in their movements than the Japanese/Okinawan/Korean styles. I'd like to know how they adapt it to make it work for them because I agree with you that I would not want to confront an opponent and attempt to fight on my side the whole time.
This morning, I worked on my little bunkai with my 14 year old daughter, but did it more "front facing". Interesting results:
a) Trying to keep speed, and power, I targeted a good 6 inches away from her ear with that back hand strike. Guess what happened.. The pulling back motion of my striking hand created a vacuum that still caused my daughter to complain of discomfort, and pain.
b) I barely applied 1/10th of an effort to my elbow strike, barely touching the material of the sleeve of her arm, and still managed to pop her elbow. ( Not out of joint.. but make it make noise like when one cracks their knuckles) I learned quickly that my daughter did not make a good choice for an Uke when attempting to put forth speed, and power.
O.K.. so tell me the secret Colin.. How do you keep the speed and power without damaging the Uke when you are purposely targeting the weak zones of the body? I'm thinking that I'm going to have to find an Uke that is built like a football player, and hard as nails, so that he can brace himself for what is coming.
OH. .. I did find the Kotegaeshi flowed nice and easy when I was front facing my opponent, and then swirled with it to use circumfrential force. No issues, bumps, or problems.
I don't believe that there is such a thing as "wrong" information, Colin. There are different perspectives of looking at things. Take for example, an apple.. a botanist would look at how it grew, and how it could be cultivated, a farmer would look at how to improve the harvest, a physician would look at the fiber, minerals, and enzymes that can promote healing, a chef would look at the possibilities of including it in a recipe, a painter would look at how to portray it on canvas.. and on, and on.
We are looking at the same kata but with different eyes. I am relying on what I know to give me a base to learn from, and I believe that you are doing the same. By sharing what we see with each other, regardless to how "correct" we are, we are helping reveal possibilities, and insights. I'm on the best side of this interchange because I get to see things from your vast experience. All that I have to offer you is "What if's?"
"All white people look the same to me. :-)"
Ha ha ha! That's the first time that I've had that said to me.. HA ha ha... but it can be so true! I feel the same way when it comes to other races. It has something to do with learning facial identification cues as a child.
Thank you for the compliments, Colin. I have to say that it's not hard to accept one's limitations, and mistakes, when you hunger for information and truth the way that I do.
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Post by supergroup7 on Jun 14, 2007 22:50:48 GMT 8
Also, I took one of your Chulgi drills to my class a few weeks ago. I had my students face each other in sparring stance, and then perform the first drill from your selection.
It went so smoothly... even the white belts were getting the hang of it by the end of the session.
I loved how it helped the students to see how diverse the movements of their arms can be.
I did have to adapt the elbow strike into a backfist for one of my students because he was quite shorter than his opponent. He would stand up on his tiptoes to try to elbow strike, and even then he was missing his target. It totally unbalanced him, and just opened him up to attack. I just told him to extend his reach by sending a backfist to the temple instead. It worked.
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Post by Colin Wee on Jun 16, 2007 20:09:34 GMT 8
Colin, I'd be curious to know if our Kung Fu martial art friends do more "side" style fighting in their movements than the Japanese/Okinawan/Korean styles. Mir - I don't think my experience is very vast in the kung fu arena, but you do know that my first black belt was earned in a chinese based system. Aside from that ... my main observation is that if anyone were to 'lock' themselves into a particularly rigid stance, it would either be a karate-ka or a wing chun practitioner. Chinese pracittioners seek a more fluid way to express their techniques. So if there were a side on stance - like you have in Choy Lay Futt, this would only be a starting point or a transitioning point for movement. You must be getting good. I don't think I could affect anyone from 6 inches away using karate type techniques!!! :-) Yep. These techniques are particularly devastating, and should be avoided in sparring just because. Similarly it should always be part of self defence drills and at the tips of your combative fingers when applying to real opponents. [quoteO.K.. so tell me the secret Colin.. How do you keep the speed and power without damaging the Uke when you are purposely targeting the weak zones of the body? I'm thinking that I'm going to have to find an Uke that is built like a football player, and hard as nails, so that he can brace himself for what is coming. [/quote] My comment seemed to have gotten under your skin it seems. When I drill with opponents and need to use a good deal of power and speed all I do is stop short at the surface of the Uke. There are some drills when we don't stop 'on the skin'. These drills are repetitive drills to block strikes coming onto the nose and test timing and coordination. However, at most other times, there is no need to apply any/much power at all! So long as you start the technique at the right instant and you're moving quickly, you don't have to use any power with the technique. Anyone using a makiwara or power pad knows that the real power is only applied maybe one to two inches before the target and one to two inches into the target. I asked one of my white belts last session how the oi zuki or front lunge punch relates to a 'self defence strike' that is done at much shorter range with hands up. The answer - the body doesn't draw back into a forward stance, but is kept relaxed and is still accelerated using the same principles. The hand drives forward the same way and the force is then transmitted into the target by locking the skeletal system so that the legs drive the force into the target. Good powerful strikes ... 'ikken hisatsu' ... feel almost 'easy' as the power is generated from the legs. Not from 'trying' or power-ing through the technique. Kime is still the same at the end - all the force is transmitted into the striking surface. On a separate note you should not feel 'kime' all the way from the start of the strike. Cool. Some dojos would be uncomfortable in a similar situation. I am just trying to be sensitive. On the contrary I have learned a great deal from our cummulative interactions. I would not be conducting this level of discourse had I not embarked on my internet research with IAOMAS, karatetips, Bruce Clayton's Book, youtube, DVDs, training seminars, meeting up with international friends, etc. I'm really only joking. :-) Oh. I hunger for information too. Like your next post... this is part of the information I require to grow! Colin
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Post by Colin Wee on Jun 16, 2007 20:22:44 GMT 8
Also, I took one of your Chulgi drills to my class a few weeks ago. I had my students face each other in sparring stance, and then perform the first drill from your selection. I'm not sure which drill you are talking about. Are you talking about the back hand deflect, open palm strike, low block to the groin or to the body, and using the low block as a takedown? Then break the elbow on the way down? They could do the takedown using the lower block-straightening the posture-and hip twist? Wow!!! I am very surprised. I may just have to communicate this to my other shotokan friend. I thought that these drills were more suited for senior practitioners, not the mudansha. I may have to correct my ideas about this. Not necessary. The elbow is a power strike, he should be happy to strike the opponents floating ribs under the extended striking arm. There is no disadvantage being short if you apply the same basics to the opponent's 'core'. In fact, ikken hisatsu should apply to the opponent's body - not 'satellites' as the head. Colin
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Post by Colin Wee on Jun 16, 2007 20:30:17 GMT 8
I've just exchange a few emails with Dr Bruce Clayton - author of Shotokan's Secret. Much of what I've done with the Tekki bunkai has been inspired by what I've read from the book. I have however taken liberties based on my own observation and training. Dr Clayton, while ever the gentleman, did observe that a lot of the bunkai was aiki-influenced. My answer to that was ...
Colin
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Post by supergroup7 on Jun 17, 2007 10:34:27 GMT 8
"You must be getting good. I don't think I could affect anyone from 6 inches away using karate type techniques!!!"
I wish that I could say that my daughter's discomfort in her ear was because I am THAT good at Martial arts. I think that the truth would be that the ear drum is quickly affected by sharp noise/ sudden air pressure change which is easy to do with a backfist type of movement. I can tell you in all honesty that I've been having fun with my backfist. I'll light a candle and then try to snuff it out with the vacuum caused by the whipping action of my backfist. ( and I'll succeed quite frequently) In fact, my 14 year old daughter was able to snuff out the candle after trying a few times. So, if my daughter and I are capable of creating a vacuum with our backfist which could cause an imbalance in a person's inner ear/ ear drum, I would wager that someone as skilled as you would be able to do it in a heartbeat.
My comment seemed to have gotten under your skin it seems.
Not under my skin, more in front of my mind. What you have said is so true. To be able to show forth Bunkai, one needs to show it forth with power, and speed. Or in other words, to the best of one's ability, they have to show that it can work in a real situation. I have a concept in my head, but can I make it show forth with my body... that is now my challenge.
Good powerful strikes ... 'ikken hisatsu' ... feel almost 'easy' as the power is generated from the legs. Not from 'trying' or power-ing through the technique.
That is my problem, Colin. It feels easy ( on me) to do the bunkai, but just a little too much speed from my side and I'm causing some uncomfortable problems for my uke. I was warned by my former Sensei that Shodans are commonly suffering for this sort of thing: Lots of power, but still working on control. Did you find that this is true in your experiences? I'm also thinking that the lack of experience of being Uke can make it difficult on my partner during the action. They may tense up in fear, or cringe at the sudden burst towards them, making it more possible for them to be injured.
The drill that I was talking about Colin, is the "Open palm and elbow sequence against roundhouse punches". Now, I had to adapt it because my lower belt students are mostly familiar with straight punch. I had the attacker send a straight punch, while the defender deflected with a same side middle palm heel block. The rest of the sequence went as you have shown. I did not include any takedowns in the drills. N'uh uh.. can't do with my dojo. I kept things as simple as possible. I even broke down the drill into little pieces. Introducing the same side middle palm heel block action, then guided them into adding the open palm strike. Finally, added the elbow sequence so that they were doing 3 techniques in a row to the one attack.
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mat
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Post by mat on Jun 18, 2007 10:34:34 GMT 8
This discussion is pretty interesting.
I'll keep reading since I don't have anything to offer other than :
Keep it up and it sure is an inspiration.
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Post by Colin Wee on Jun 18, 2007 16:11:57 GMT 8
Not under my skin, more in front of my mind. What you have said is so true. To be able to show forth Bunkai, one needs to show it forth with power, and speed. You'll need to learn how to control those strikes then. Karate is a system of millimeters. It is true. But control is extremely important, and needs to be cultivated for the user's safety. Very cool! Colin
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Post by Colin Wee on Jun 18, 2007 16:12:18 GMT 8
This discussion is pretty interesting. I'll keep reading since I don't have anything to offer other than : Keep it up and it sure is an inspiration. Glad you're enjoying it. Colin
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Post by supergroup7 on Jun 19, 2007 2:48:20 GMT 8
Thanks for the encouragement, Mat. :-)
Colin,
... kata applications should be beginner techniques that are easy to do, especially when you're in a combative encounter.
One thing that I've learned in the few years of experience that I've had in Martial arts is that the simplest moves are the hardest ones to accomplish. This is the same in almost every art. Drawing a straight line.. ( this takes MUCH experience, confidence, and skill ) Making a simple pie crust ( It's unbelievably difficult to get a flaky, light crust without wisdom, and skill. You have to know just how long to mix the ingredients, and what temperature to keep the dough, how to handle it if you've put too much flour into the mixture, etc.)
I agree that kata such as Tekki would contain the most simplest, and efficient moves, and concepts, but in that same statement I would offer that this would become the most challenging for a Martial artist to affect at first.
I believe that it would be a full circle of understanding as we struggle to understand the bunkai of any pattern. First, it's basic, then we get technical, and then once we've dissected, and integrated everything, we bring it down to basic again.
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