Sunday, December 20, 2009
Thursday, December 17, 2009
Tuesday, December 8, 2009
Sunday, November 29, 2009
So Sang One Steps Series One
So Sang One Steps Series One
#1
1. Step 45 degrees with right foot into a horse stance.
2. Left knife hand block and right punch to face
#2
1. Step 45 degrees with left foot into a horse stance.
2. Left pushing hand block
3. Right punch to stomach
1. Step 45 degrees with left foot into a horse stance.
2. Left pushing hand block
3. Right punch to stomach
#3
1. Step forward with right foot into a front stance.
2. Left knife hand block and right knife hand strike to neck
1. Step forward with right foot into a front stance.
2. Left knife hand block and right knife hand strike to neck
#4
1. Step forward with left foot into a back stance.
2. Left inner forearm block
3. Right punch to face
1. Step forward with left foot into a back stance.
2. Left inner forearm block
3. Right punch to face
#5
1. Step forward with right foot into a horse stance facing the right.
2. Right outer forearm block
3. Right elbow strike to face
1. Step forward with right foot into a horse stance facing the right.
2. Right outer forearm block
3. Right elbow strike to face
#6
1. Right side kick
1. Right side kick
#7
1. Step 45 degrees with left foot
2. Right turning kick to legs
3. Right turning kick to chest
1. Step 45 degrees with left foot
2. Right turning kick to legs
3. Right turning kick to chest
#8
1. Step 45 degrees with right foot
2. Right front kick to chest
1. Step 45 degrees with right foot
2. Right front kick to chest
#9
1. Right bottom of foot kick to hand
2. Right side kick to stomach
1. Right bottom of foot kick to hand
2. Right side kick to stomach
Monday, November 23, 2009
Sunday, November 22, 2009
Tuesday, November 17, 2009
Mawashi geri
Roundhouse Kick (Mawashi geri)
From Wikipedia, the free encyclopedia
A roundhouse kick (also known as a round kick or turning kick) is a kick in which the attacker swings his leg around in a semicircular motion, striking with the front of the leg or foot. This type of kick is utilized in many different martial arts and is popular in both non-contact and full-contact martial arts competitions. The kick has many variations based on stance, leg movement, striking surface, and the height of the kick.
Karate methods
Karate has many different methods of delivering their roundhouse kick (Mawashi geri). The original method involved bringing up the knee, and then swiftly turning the hip over and snapping the leg outwards from the knee to deliver a strike with the ball of the foot. The ball of the foot was believed to be more effective and less dangerous than other methods.
As the years have gone by, some Karate dojo also practice kicking roundhouse kick with the shin, another point of contact is with the instep (for safety).
There are now more and more karateka practicing the 'cutting roundhouse kick'; this is where the karateka will lift their attacking leg higher than the intended target, they will then execute the kick in a downward cutting movement. Practitioners consider it a very effective method against the thigh.
This was later supplemented in Masutatsu Oyama's Kyokushin karate with a similar technique, using the instep and using more rotation of the hip, as well as sinking the weight of the kicker into the target, to create more bludgeoning power. The target of this kick was primarily the neck. Oyama also taught roundhouse kicks to the thigh and ribs, using the shin as the point of contact.
From Wikipedia, the free encyclopedia
A roundhouse kick (also known as a round kick or turning kick) is a kick in which the attacker swings his leg around in a semicircular motion, striking with the front of the leg or foot. This type of kick is utilized in many different martial arts and is popular in both non-contact and full-contact martial arts competitions. The kick has many variations based on stance, leg movement, striking surface, and the height of the kick.
Karate methods
Karate has many different methods of delivering their roundhouse kick (Mawashi geri). The original method involved bringing up the knee, and then swiftly turning the hip over and snapping the leg outwards from the knee to deliver a strike with the ball of the foot. The ball of the foot was believed to be more effective and less dangerous than other methods.
As the years have gone by, some Karate dojo also practice kicking roundhouse kick with the shin, another point of contact is with the instep (for safety).
There are now more and more karateka practicing the 'cutting roundhouse kick'; this is where the karateka will lift their attacking leg higher than the intended target, they will then execute the kick in a downward cutting movement. Practitioners consider it a very effective method against the thigh.
This was later supplemented in Masutatsu Oyama's Kyokushin karate with a similar technique, using the instep and using more rotation of the hip, as well as sinking the weight of the kicker into the target, to create more bludgeoning power. The target of this kick was primarily the neck. Oyama also taught roundhouse kicks to the thigh and ribs, using the shin as the point of contact.
(He is speaking in Japanese, however you can still watch how he throws the mawashi geri)
Tuesday, November 10, 2009
Yoko Geri (Side Kick)
Side kick
"Side kick" redirects here. For other uses, see Sidekick (disambiguation).
In Japanese, yoko geri; in Korean, yeop chagi (옆 차기).
The Side Kick refers to a kick that is delivered sideways in relation to the body of the person kicking. There are two general ways in which a side kick can be delivered. The first involves chambering the kick by bending it and cocking it back (recoiling it, in other words) before you kick.[1] The second involves shooting the leg forward as you would in a front kick and then pivoting and turning so that you actually deliver a side kick.
In addition, there are two areas that are commonly used as impact points in sidekicks. The first is the heel of the foot and the other is the outer edge of the foot(this is sometimes called the side blade kick, "ashi-gatana" or "sokuto" in Japanese). The heel is more suited to hard targets such as the ribs, stomach, jaw, temple and chest. The side blade is more suited to the softer targets such as the knee and neck.
From Wikipedia, the free encyclopedia
Sunday, October 25, 2009
Friday, October 23, 2009
Tuesday, October 13, 2009
Yoso No Kata #1
Zak of the Belfast Club Naha performing Yoso No Kata #1
Yoso No Kata #1
0. Ready Stance
1. Left Cat Stance, Left Inner Forearm Block
2. Right Front Stance, Right Middle Punch
3. Right Cat Stance, Right Inner Forearm Block
4. Left Front Stance, Left Middle Punch
5. Left Cat Stance, Left Inner Forearm Block
6. Right Front Stance, Right Middle Punch
7. Left Front Stance, Left Middle Punch
8. Right Front Stance, Right Middle Punch
9. Left Cat Stance, Left Inner Forearm Block
10. Right Front Stance, Right Middle Punch
11. Right Cat Stance, Right Inner Forearm Block
12. Left Front Stance, Left Middle Punch
13. Left Cat Stance, Left Inner Forearm Block
14. Right Front Stance, Right Middle Punch
15. Left Front Stance, Left Middle Punch
16. Right Front Stance, Right Middle Punch
17. Left Cat Stance, Left Inner Forearm Block
18. Right Front Stance, Right Middle Punch
19. Right Cat Stance, Right Inner Forearm Block
20. Left Front Stance, Left Middle Punch
21. Ready Stance
Yoso No Kata #1
0. Ready Stance
1. Left Cat Stance, Left Inner Forearm Block
2. Right Front Stance, Right Middle Punch
3. Right Cat Stance, Right Inner Forearm Block
4. Left Front Stance, Left Middle Punch
5. Left Cat Stance, Left Inner Forearm Block
6. Right Front Stance, Right Middle Punch
7. Left Front Stance, Left Middle Punch
8. Right Front Stance, Right Middle Punch
9. Left Cat Stance, Left Inner Forearm Block
10. Right Front Stance, Right Middle Punch
11. Right Cat Stance, Right Inner Forearm Block
12. Left Front Stance, Left Middle Punch
13. Left Cat Stance, Left Inner Forearm Block
14. Right Front Stance, Right Middle Punch
15. Left Front Stance, Left Middle Punch
16. Right Front Stance, Right Middle Punch
17. Left Cat Stance, Left Inner Forearm Block
18. Right Front Stance, Right Middle Punch
19. Right Cat Stance, Right Inner Forearm Block
20. Left Front Stance, Left Middle Punch
21. Ready Stance
Saturday, October 10, 2009
Thursday, October 8, 2009
Kata - Lucio Maurino
Our ambitions can be achieved only if they are proportioned to the labour and time we dedicated to them. - Lucio Maurino
The term “Kata” means “form”, “archetype”, or what represents an ancient and fundamental model containing its own essential codes of structuring. The Kata, for his articulated and deep symbolisms accessible for different degrees of awareness and competence of the apprentice, contains the assembled of the time and history of Karate: probably, in the “forms”, the great Teachers assembled and condensed the combative experiences of their whole life and delivered it as packet of information to their first disciple that he handed down it, in turn, to his successors.
Unfortunately such ancient and universal knowledge is been handed down from Teacher to student not so much by scientific-methodological principles, but through the way of body, for which today different styles of codification exist cause, in the historical tradition, the Teacher, founder of a school, delivered his own experience in the spirit and forms because of some particularly meaningful Katas.
Definition of Kata on computer base according to the modern theory of the systems
“The Kata is an imaginary-encoded-simulated fight, conceived as a systemic structure, with more or less complex communicative motion dense of meanings, that founds its own intrinsic and expressive harmony on the space-time scannings of the executive rhythms in operation of pre-arranged combative finalities.”
The practice of the kata is founded on the execution of motor structures predestined on the base of dynamic stereotypes opportunely assembled. It deals with a composite exercise appraisable under the qualitative meaning profile that prioritily hocks the closed skills of the individual.
The primary quality that a kata performer has to communicate is to play a fight, even though simulated, against imaginary opponents and inside a predestined form, in which the spirit of the ZANSHIN, or rather the state of promptness and elevated charge of vigilance that has also to characterize the circumstances of apparent calm.
The showing of kata is in its maximum expression and optimal expression of its essence, or rather from the fact to globally and intensely be meaningful under the martial profile, revealing and mirroring the identity of the discipline that represents in optimal way.
The characteristics that qualify a kata are:
- postural codification;
- finalized codification of the technical gesture
(attacks and parades);
- codification of the rhythms (temporal scannings) based
on the meaning of the motor gesture;
- harmony of structure;
- dosed global complexity;
- versatility of technique and gesture (bilateralism, symmetry);
- equilibrium of motor engagement (not inflated acrobatic phases);
- technical and tactical high level;
- strategic intelligence of the layout (embusen).
In the kata the gestures are multiform and they must be concretized through a polyvalent motor dynamism, where the variety of the native gestures of the martial art and the acrobatic actions melt themselves together, creating a noble formal expression characterized by specific connotations.
Kata is globally considered meaningful when its structure sufficiently shine through a complex tactical warp and through a configuration that it is born from a strategic orientation finalized to the fight against more adversaries.
The Kata, that means "form", "technical sequence", concerns the analysis and the study of the techniques of Karate practiced without adversaries (empty practice) putting in prominence the technical precision, the power (considered as the product of the strength for the speed) which the techniques are performed with. It contains, besides properly visual elements, also more depth educational meanings.
The Kata represents an attacks and defenses set, codified in an pre-arranged order by great experts. This set is studied to understand better the essence of a style, and it is practiced to get a technical improvement as well as for the beauty of the gesture.
We can define it as the "choreography" of the attack and defense, or the ritual forms of the techniques and movements.
In the Katas are picked almost all the techniques of attack and block, besides the numerous existing moves in the Karate.
Performing the Kata, the athlete has to follow a
pre-arranged layout, meticulously respecting
specify executive parameters:
- Technique (precision of the encoded gesture);
- Power (considered as the product of the strength
for the speed);
- Kimè (ability of muscular contraction and
decontraction);
- Rhythm (which the imaginary and encoded fights are
performed with);
- Expressiveness (if it deals with individual Kata), that is
the ability to communicate
through the technical gestures the own personality
and creativeness;
- Synchronization (if it deals with teams Kata)
These parameters determine the undisputed technical performance superiority in comparison to another.
- Lucio Maurino
http://www.luciomaurino.com
The term “Kata” means “form”, “archetype”, or what represents an ancient and fundamental model containing its own essential codes of structuring. The Kata, for his articulated and deep symbolisms accessible for different degrees of awareness and competence of the apprentice, contains the assembled of the time and history of Karate: probably, in the “forms”, the great Teachers assembled and condensed the combative experiences of their whole life and delivered it as packet of information to their first disciple that he handed down it, in turn, to his successors.
Unfortunately such ancient and universal knowledge is been handed down from Teacher to student not so much by scientific-methodological principles, but through the way of body, for which today different styles of codification exist cause, in the historical tradition, the Teacher, founder of a school, delivered his own experience in the spirit and forms because of some particularly meaningful Katas.
Definition of Kata on computer base according to the modern theory of the systems
“The Kata is an imaginary-encoded-simulated fight, conceived as a systemic structure, with more or less complex communicative motion dense of meanings, that founds its own intrinsic and expressive harmony on the space-time scannings of the executive rhythms in operation of pre-arranged combative finalities.”
The practice of the kata is founded on the execution of motor structures predestined on the base of dynamic stereotypes opportunely assembled. It deals with a composite exercise appraisable under the qualitative meaning profile that prioritily hocks the closed skills of the individual.
The primary quality that a kata performer has to communicate is to play a fight, even though simulated, against imaginary opponents and inside a predestined form, in which the spirit of the ZANSHIN, or rather the state of promptness and elevated charge of vigilance that has also to characterize the circumstances of apparent calm.
The showing of kata is in its maximum expression and optimal expression of its essence, or rather from the fact to globally and intensely be meaningful under the martial profile, revealing and mirroring the identity of the discipline that represents in optimal way.
The characteristics that qualify a kata are:
- postural codification;
- finalized codification of the technical gesture
(attacks and parades);
- codification of the rhythms (temporal scannings) based
on the meaning of the motor gesture;
- harmony of structure;
- dosed global complexity;
- versatility of technique and gesture (bilateralism, symmetry);
- equilibrium of motor engagement (not inflated acrobatic phases);
- technical and tactical high level;
- strategic intelligence of the layout (embusen).
In the kata the gestures are multiform and they must be concretized through a polyvalent motor dynamism, where the variety of the native gestures of the martial art and the acrobatic actions melt themselves together, creating a noble formal expression characterized by specific connotations.
Kata is globally considered meaningful when its structure sufficiently shine through a complex tactical warp and through a configuration that it is born from a strategic orientation finalized to the fight against more adversaries.
The Kata, that means "form", "technical sequence", concerns the analysis and the study of the techniques of Karate practiced without adversaries (empty practice) putting in prominence the technical precision, the power (considered as the product of the strength for the speed) which the techniques are performed with. It contains, besides properly visual elements, also more depth educational meanings.
The Kata represents an attacks and defenses set, codified in an pre-arranged order by great experts. This set is studied to understand better the essence of a style, and it is practiced to get a technical improvement as well as for the beauty of the gesture.
We can define it as the "choreography" of the attack and defense, or the ritual forms of the techniques and movements.
In the Katas are picked almost all the techniques of attack and block, besides the numerous existing moves in the Karate.
Performing the Kata, the athlete has to follow a
pre-arranged layout, meticulously respecting
specify executive parameters:
- Technique (precision of the encoded gesture);
- Power (considered as the product of the strength
for the speed);
- Kimè (ability of muscular contraction and
decontraction);
- Rhythm (which the imaginary and encoded fights are
performed with);
- Expressiveness (if it deals with individual Kata), that is
the ability to communicate
through the technical gestures the own personality
and creativeness;
- Synchronization (if it deals with teams Kata)
These parameters determine the undisputed technical performance superiority in comparison to another.
- Lucio Maurino
http://www.luciomaurino.com
Tuesday, October 6, 2009
Tuesday, September 29, 2009
Tuesday, September 22, 2009
Shiko Dachi(Horse Stance) and Zenkutsu Dachi (Front Stance)
Horse Stance From Wikipedia, the free encyclopedia Shiko-dachi (square stance, often called horse stance) Feet are wide and weight is central and low. The knees and buttocks should be of equal level. The back should be straight and the knees should be directly over the feet. The toes face out at about 45 degrees.
Front Stance From Wikipedia, the free encyclopediaFront stance, sometimes also called forward leaning stance or forward stance, is a basic stance used in Japanese and Korean martial arts. Although the specifics of the stance vary by style, overall it is visually similar to a lunge, with the forward leg bent at the knee, and the rear leg straight, while the hips and shoulders remain squarely facing forward. The purpose of the stance is to teach musculo-skeletal alignment that adds as much mass of the earth to a strike as possible. The stance allows a great deal of power generation forward, but very little in any other direction.
In Japanese martial arts, the front stance (zenkutsu-dachi?) is primarily practiced in karate and its variants. Some variations included the version practiced by Shotokan, where students generally place their feet much wider, while Isshin-ryū students place their feet shoulder width, but with much shallower length. Other variations are also practiced.
Monday, September 21, 2009
Friday, August 14, 2009
Kihon: Basics
Age Uke: Rising Block
Ude Uchi Uke: Inner Forearm Block
Ude Soto Uke: Outer Forearm Block
Gedan Barai Uke: Down Block
Zuki: Punch
Mae Geri: Front Kick
Yoko Geri: Side Kick
Ude Uchi Uke: Inner Forearm Block
Ude Soto Uke: Outer Forearm Block
Gedan Barai Uke: Down Block
Zuki: Punch
Mae Geri: Front Kick
Yoko Geri: Side Kick
Saturday, August 8, 2009
Saturday, August 1, 2009
Friday, July 24, 2009
Want to know what kata you should learn/perform for tournaments?
White Belt -Yoso No Kata #1
White Belt II -Yoso No Kata #2, Yoso No Kata #3, Yoso No Kata #4, or Kyoku Shodan
White Belt III - Yoso No Kata #5
Yellow Belt -Wonhwa Eui Hyung, Sunghwa Eui Hyung, or Pinan Nidan
Orange Belt - Empi Iwa or Kyoku Nidan
Green Belt -Pinan Shodan, Pinan Sandan, or Pinan Yondan
Blue Belt -Pinan Godan, Kyoku Yondan, or Kyoku Godan
Purple Belt -Chang Jo Eui Hyung, Basai Dai or Jion
Brown Belt -Shimpa Tan, Kanku Dai,
Black Belt -Kanku Sho, Enpi, Chinte, or Unsu
White Belt II -Yoso No Kata #2, Yoso No Kata #3, Yoso No Kata #4, or Kyoku Shodan
White Belt III - Yoso No Kata #5
Yellow Belt -Wonhwa Eui Hyung, Sunghwa Eui Hyung, or Pinan Nidan
Orange Belt - Empi Iwa or Kyoku Nidan
Green Belt -Pinan Shodan, Pinan Sandan, or Pinan Yondan
Blue Belt -Pinan Godan, Kyoku Yondan, or Kyoku Godan
Purple Belt -Chang Jo Eui Hyung, Basai Dai or Jion
Brown Belt -Shimpa Tan, Kanku Dai,
Black Belt -Kanku Sho, Enpi, Chinte, or Unsu
Thursday, July 23, 2009
Kyoku Kata
Kyoku Shodan
Kyoku Nidan
Kyoku Sandan
"Look at sun" open
2. Look left, back to LFF cat stance, L side block
3. Down, L low block (break knee)
4. Up, forward to RFF FS, R punch.
5. Turn 180 degrees, RFF cat stance, R side block
6. Down, R low block (break knee)
7. Up, forward to LFF FS, L punch.
8. Look left, turn 90 to LFF cat stance, side block, low block.
9. Step to RFF FS, R low block
10. Kick L, LFF FS, L low block
11. Kick R, RFF FS, R dbl shuto, L double shuto (w/ twist).
12. 270 degree turn, LFF cat stance, L side block
13. Down, L low block (break knee), Up, Punch R, punch L.
14. R "Pinan Kamai", L Hammer fist, L side kick.
15. Turn 90 degrees to LFF FS, Smash R fist to L hand.
16. Step out 45 degrees, horse stance, R dbl low shuto
17. Turn 135 degrees, RFF cat stance, R side block
18. Down, R low block (break knee), Up, Punch L, punch R
19. L "Pinan Kamai", R Hammer fist, R side kick.
20. Turn 90 degrees to RFF FS, Smash L fist to R hand.
21. Step out 45 degrees, horse stance, L dbl low shuto
22. Step back, turn 45 degrees to LFF cat stance, L side block, L cross block.
23. Crouch to low X block, up to LFF cat, dbl outer block.
24. Kick, punch
25. Cresant kick, punch, punch
26. Creasent kick, punch, punch
27. Turn 225 degrees, horse stance, low shuto, hi OH guard
28. Up to Itosu stance, hi ridge hand, hi OH guard
29. Step out 90 degrees, horse stance, low shuto, hi OH guard
30. Up to Itosu stance, hi ridge hand, hi OH guard.
31. Back to center
32. Bow out (bend back).
http://www.ryu.com/mascio/karate/kyokosan.html
Kyoku Yondan
Kyoku Godan
Kyoku Shodan ... "... is your friend" from Dennis Browne on Vimeo.
Kyoku Nidan
Kyoku Nidan from Dennis Browne on Vimeo.
Kyoku Sandan
"Look at sun" open
2. Look left, back to LFF cat stance, L side block
3. Down, L low block (break knee)
4. Up, forward to RFF FS, R punch.
5. Turn 180 degrees, RFF cat stance, R side block
6. Down, R low block (break knee)
7. Up, forward to LFF FS, L punch.
8. Look left, turn 90 to LFF cat stance, side block, low block.
9. Step to RFF FS, R low block
10. Kick L, LFF FS, L low block
11. Kick R, RFF FS, R dbl shuto, L double shuto (w/ twist).
12. 270 degree turn, LFF cat stance, L side block
13. Down, L low block (break knee), Up, Punch R, punch L.
14. R "Pinan Kamai", L Hammer fist, L side kick.
15. Turn 90 degrees to LFF FS, Smash R fist to L hand.
16. Step out 45 degrees, horse stance, R dbl low shuto
17. Turn 135 degrees, RFF cat stance, R side block
18. Down, R low block (break knee), Up, Punch L, punch R
19. L "Pinan Kamai", R Hammer fist, R side kick.
20. Turn 90 degrees to RFF FS, Smash L fist to R hand.
21. Step out 45 degrees, horse stance, L dbl low shuto
22. Step back, turn 45 degrees to LFF cat stance, L side block, L cross block.
23. Crouch to low X block, up to LFF cat, dbl outer block.
24. Kick, punch
25. Cresant kick, punch, punch
26. Creasent kick, punch, punch
27. Turn 225 degrees, horse stance, low shuto, hi OH guard
28. Up to Itosu stance, hi ridge hand, hi OH guard
29. Step out 90 degrees, horse stance, low shuto, hi OH guard
30. Up to Itosu stance, hi ridge hand, hi OH guard.
31. Back to center
32. Bow out (bend back).
http://www.ryu.com/mascio/karate/kyokosan.html
Kyoku Yondan
Kyoku Yondan from Dennis Browne on Vimeo.
Kyoku Godan
Kyoku Godan from Dennis Browne on Vimeo.
Monday, July 20, 2009
CLUB 道 NAHA Basic Shudokan Fighting Techniques (FTs)
1: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Gyaku ZukiRight Reverse Punch, Right Reverse Punch, Right Reverse Punch
2: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Mawashi Geri
Right Reverse Punch, Right Reverse Punch, Right Roundhouse Kick
3: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Makisuki Geri
Right Reverse Punch, Right Reverse Punch, Right Crescent Kick
4: Migi Gyaku Zuki, Migi Gyaku Zuki, Hidari Mawashi Geri
Right Reverse Punch, Right Reverse Punch, Left Roundhouse Kick
5: Migi Gyaku Zuki, Migi Gyaku Zuki, Hidari Makisuki Geri
Right Reverse Punch, Right Reverse Punch, Left Crescent Kick
6: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Yoko Geri
Right Reverse Punch, Right Reverse Punch, Right Side Kick
7: Migi Gyaku Zuki, Migi Gyaku Zuki, Hidari Yoko Geri
Right Reverse Punch, Right Reverse Punch, Left Side Kick
8: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Mawashi Geri Gedan, Migi Mawashi Geri Jodan
Right Reverse Punch, Right Reverse Punch, Right Roundhouse Kick to Legs, Right Roundhouse Kick to Head
9: Migi Gyaku Zuki, Migi Gyaku Zuki, Hidari Mawashi Geri Gedan, Hidary Mawashi Geri Jodan
Right Reverse Punch, Right Reverse Punch, Left Roundhouse Kick to Legs, Left Roundhouse Kick to Head
10: Migi Gyaku Zuki, Migi Gyaku Zuki, Migi Tobi Makisuki Geri
Right Reverse Punch, Right Reverse Punch, Jumping Right Crescent Kick
Thursday, July 16, 2009
Some Interesting Videos that I found on YouTube
Yoso No Kata #2
Yoso No Kata #3
Yoso No Kata #4
Pinan Nidan
Kyoku Shodan
Kyoku Godan
Yoso No Kata #3
Yoso No Kata #4
Pinan Nidan
Kyoku Shodan
Kyoku Godan
Monday, July 13, 2009
Yoso No Kata
Yoso No Kata #1
0. Ready Stance
1. Left Cat Stance, Left Inner Forearm Block
2. Right Front Stance, Right Middle Punch
3. Right Cat Stance, Right Inner Forearm Block
4. Left Front Stance, Left Middle Punch
5. Left Cat Stance, Left Inner Forearm Block
6. Right Front Stance, Right Middle Punch
7. Left Front Stance, Left Middle Punch
8. Right Front Stance, Right Middle Punch
9. Left Cat Stance, Left Inner Forearm Block
10. Right Front Stance, Right Middle Punch
11. Right Cat Stance, Right Inner Forearm Block
12. Left Front Stance, Left Middle Punch
13. Left Cat Stance, Left Inner Forearm Block
14. Right Front Stance, Right Middle Punch
15. Left Front Stance, Left Middle Punch
16. Right Front Stance, Right Middle Punch
17. Left Cat Stance, Left Inner Forearm Block
18. Right Front Stance, Right Middle Punch
19. Right Cat Stance, Right Inner Forearm Block
20. Left Front Stance, Left Middle Punch
21. Ready Stance
Zak of the Belfast Club Naha performing Yoso No Kata #1
Sunday, July 5, 2009
Wednesday, July 1, 2009
Another video
Bunkai
From Wikipedia, the free encyclopedia
Bunkai (分解?), literally meaning "analysis" or "disassembly", is a term used in Japanese martial arts referring to the application of fighting techniques extracted from the moves of a "form" (kata).
Bunkai is usually performed with a partner or a group of partners which execute predefined attacks, and the student performing the kata responds with defenses, counterattacks, or other actions, based on a part of the kata. This allows the student in the middle to understand what the movements in kata are meant to accomplish. It may also illustrate how to improve technique by adjusting distances, time moves properly, and adapt a technique depending on the size of an opponent. Some kata have another layer of application that is taught using an Oyo Bunkai.[citation needed] Different practitioners will learn or discover alternative applications, but the bunkai, like the kata, varies based on the style and the teacher.
A single kata may be broken into anywhere from a few to a few dozen applications, and the same sequence of kata moves may sometimes be interpreted in different ways resulting in several bunkai. Some martial arts require students to perform bunkai for promotion.
Bunkai can be obvious or elusive depending on the technique in question, the moves preceding and following it, and the individual practitioner. There are usually many stages of depth of comprehension of bunkai only reached through the passage of time. The terms toridai and himitsu are used to refer to techniques not readily seen to the casual observer and hidden techniques within kata.[citation needed] For example, in Gōjū-ryū karate, two-man kata training is used to reinforce bunkai and correct technique.[citation needed] If techniques in the kata are not performed correctly they will not be effective in two man training.
From Wikipedia, the free encyclopedia
Bunkai (分解?), literally meaning "analysis" or "disassembly", is a term used in Japanese martial arts referring to the application of fighting techniques extracted from the moves of a "form" (kata).
Bunkai is usually performed with a partner or a group of partners which execute predefined attacks, and the student performing the kata responds with defenses, counterattacks, or other actions, based on a part of the kata. This allows the student in the middle to understand what the movements in kata are meant to accomplish. It may also illustrate how to improve technique by adjusting distances, time moves properly, and adapt a technique depending on the size of an opponent. Some kata have another layer of application that is taught using an Oyo Bunkai.[citation needed] Different practitioners will learn or discover alternative applications, but the bunkai, like the kata, varies based on the style and the teacher.
A single kata may be broken into anywhere from a few to a few dozen applications, and the same sequence of kata moves may sometimes be interpreted in different ways resulting in several bunkai. Some martial arts require students to perform bunkai for promotion.
Bunkai can be obvious or elusive depending on the technique in question, the moves preceding and following it, and the individual practitioner. There are usually many stages of depth of comprehension of bunkai only reached through the passage of time. The terms toridai and himitsu are used to refer to techniques not readily seen to the casual observer and hidden techniques within kata.[citation needed] For example, in Gōjū-ryū karate, two-man kata training is used to reinforce bunkai and correct technique.[citation needed] If techniques in the kata are not performed correctly they will not be effective in two man training.
Tuesday, June 30, 2009
How to Use Kamas
Double Strikes with Kamas
Forward Spins with Kamas
Switch Ups with Kamas
Flipping with Kamas
Flip Combo with Kamas
Combo Moves with Kamas
Forward Spins with Kamas
Switch Ups with Kamas
Flipping with Kamas
Flip Combo with Kamas
Combo Moves with Kamas
Tuesday, June 23, 2009
Friday, June 12, 2009
Saturday, June 6, 2009
Friday night eliminations at the Gator Nationals on May 15, 2009 in Daytona Beach, FL.
These videos didn't embed correctly, just right click on the video and click show all and you should be able to see the entire screen.
Junior Weapons 9
Terri Jacoby, Weapons
Junior Forms 9
Junior Forms 8
Junior Weapons 9
Terri Jacoby, Weapons
Junior Forms 9
Junior Forms 8
Uke (block)
Uke (Blocks) are defensive movements done with the arms and/or legs to prevent your opponent form striking you. Hensen Ryu blocks are intended to be done with a lot of power, so the opponent is unable to continue attacking with that limb. In essence a block is a strike against an opponents strike.
Jodan Age Uke
(Rising Block to Head)
(Rising Block to Head)
Chudan Uchi Ude Uke
(Inside Forearm Block to Torso)
(Inside Forearm Block to Torso)
Gedan Barai Uke
(Down Block to Legs)
Application of Basic Technique
Tuesday, June 2, 2009
Pinan 平安
The Pinan (平安) kata are the second series of kata that we teach here at Club Naha after the Yoso no Kata series. During the study of these kata, students are introduced to new techniques, and should focus on differentiating between stances and learning to generate power in techniques by applying their hips.
The Pinan kata originated in Okinawa and were formed by Anko Itosu from older kata such as Kusanku (Kanku Dai), Passai (Bassai Dai), and Gojushiho. Anko Itosu formed these kata to make Kusanku (Kanku Dai), Passai (Bassai Dai), and Gojushiho easier to learn.
The first character, 'pin', means flat and easy, while the second kanji, 'an', means easy or comfortable. Also called "peaceful mind" kata, the Pinan series are easy and comfortable fundamental kata.
The Pinan kata are practiced, with various modifications, in many styles of Japanese and Okinawan martial arts. When Gichin Funakoshi brought karate to Japan, he renamed the Pinan kata to Heian.
Pinan Shodan(The Beginning of this kata is performed a little different then our version)
Here is a similar version of our Pinan Sandan
Pinan Yondan and Pinan Godan: (slightly different then our versions)
Pinan Yondan
Pinan Godan
The Pinan kata originated in Okinawa and were formed by Anko Itosu from older kata such as Kusanku (Kanku Dai), Passai (Bassai Dai), and Gojushiho. Anko Itosu formed these kata to make Kusanku (Kanku Dai), Passai (Bassai Dai), and Gojushiho easier to learn.
The first character, 'pin', means flat and easy, while the second kanji, 'an', means easy or comfortable. Also called "peaceful mind" kata, the Pinan series are easy and comfortable fundamental kata.
The Pinan kata are practiced, with various modifications, in many styles of Japanese and Okinawan martial arts. When Gichin Funakoshi brought karate to Japan, he renamed the Pinan kata to Heian.
Pinan Shodan(The Beginning of this kata is performed a little different then our version)
Here is a similar version of our Pinan Sandan
Pinan Yondan and Pinan Godan: (slightly different then our versions)
Pinan Yondan
Pinan Godan
Sunday, May 31, 2009
Sport Karate Tricks
540 Kick Tutorial
Butterfly Kick Tutorial
Batido / L Kick Tutorial
HOW TO SWIPE w/ Scotty Nguyen
Steve Terada and Kim Do (This one’s for fun)
Butterfly Kick Tutorial
Batido / L Kick Tutorial
HOW TO SWIPE w/ Scotty Nguyen
Steve Terada and Kim Do (This one’s for fun)
Mawashi Geri
Mawashi geri From Wikipedia, the free encyclopediaMawashi-geri (回し蹴り) means "round kick", although it is also sometimes referred to as a roundhouse kick. It is a kick used in Japanese martial arts.
Technique
Mawashi-geri may be executed from a variety of stances, and there are several methods of proper execution. The portion of its execution that is always consistent is that the kick is executed inward and at an angle that is anywhere from parallel to the floor to 45 degrees upward. In general, it is a lateral kick that strikes with the foot. Ideally, the foot that is on the ground during the kick points directly away from the opponent, but 90 to 45 degrees away from the opponent may also be acceptable.
Variations
If mawashi-geri is being thrown with the lead leg, the lead leg comes straight up from the ground, moving into a position with the knee bent back and pointing at the desired target area on the opponent. Without stopping, the upper leg rotates inward to whatever angle the kick will be thrown at, and finally, the lower leg flicks out to strike the opponent, and then immediately back in.
If the kick is being thrown from the rear leg, another option is available. The rear leg lifts with the knee bent and pointing to the side, and the entire body rotates as the knee swings around to the front (picture swinging one's leg over to mount a bicycle). The rotation of the body and lateral movement of the leg add to the momentum of the lower leg, which moves in and out the same as above.
The final possible variation is in the foot, itself. One may either strike with the instep of the foot (with the ankle and toes extended), or with the ball of the foot (ankle and toes bent back). Alternately, one could forgo the use of the foot entirely, and strike with the shin instead (for example, at extremely close range).
Targets
Common targets for this kick include the head (especially in competition), as well as the knees and floating ribs. Kyokushinkai karate practitioners commonly use low mawashigeri attacks to strike the thigh of opponents whereas this move is less common in other styles.
There are many versions of roundhouse kick.
Martial arts have many different methods of delivering a roundhouse kick. The original method involved bringing up the knee, and then swiftly turning the hip over and snapping the leg outwards from the knee to deliver a strike with the ball of the foot.
As the years have gone by, some martial arts schools also practice kicking roundhouse kick with the shin, which has always been the preferred method of Muay Thai.
Another popular point of contact is with the instep, which, for safety reasons, is usually practiced when sparring in the martial arts school.
There are now more and more martial artists practicing the 'cutting roundhouse kick', this is where the practitioner will lift their attacking leg higher than the intended target, they will then execute the kick in a downward cutting movement. A very effective attack against the thigh.
A popular way of using mawashi geri in the Goju Ryu style of karate involves aiming a snapped round house to the opponent's groin.
Tanaka Masahiko - Mawashi-Geri
Friday, May 29, 2009
Shiko Dachi 四股立ち(Horse Stance) and Zenkutsu Dachi 前屈立ち(Front Stance)
Horse StanceShiko-dachi (四股立, square stance, often called horse stance) Feet are wide and weight is central and low. The knees and buttocks should be of equal level. The back should be straight and the knees should be directly over the feet. The toes face out at about 45 degrees.
Front Stance From Wikipedia, the free encyclopediaFront stance, sometimes also called forward leaning stance or forward stance, is a basic stance used in Japanese and Korean martial arts. Although the specifics of the stance vary by style, overall it is visually similar to a lunge, with the forward leg bent at the knee, and the rear leg straight, while the hips and shoulders remain squarely facing forward. The purpose of the stance is to teach musculo-skeletal alignment that adds as much mass of the earth to a strike as possible. The stance allows a great deal of power generation forward, but very little in any other direction.
In Japanese martial arts, the front stance (前屈立ち ,zenkutsu-dachi?) is primarily practiced in karate and its variants. Some variations included the version practiced by Shotokan, where students generally place their feet much wider, while Isshin-ryū students place their feet shoulder width, but with much shallower length. Other variations are also practiced.
Thursday, May 28, 2009
Here is a cool article that I found about Kata training.
Tips for learning a kataA kata is an integral part of learning any martial art - check out these tips to help you master these forms quicker and easier!
Sponsored Links
You're hot, sweaty and tired from trying over and over again to perfect this particular kata. You know all the moves but it's just not coming together for you. But what can you do? Read on for a few tips to help you bring it all together for a perfect performance!
First, let's go back to the basics. A kata is a pattern of specific defensive and attack positions usually found in martial arts, such as judo and karate. Performed either solo or in pairs, it is used to help the artist perfect his/her form and to demonstrate their knowledge of the art. A kata can be done using swords, staffs or nothing at all and is an integral part of learning any martial art. But they're not easy – an average kata can be anywhere from twenty to seventy moves long, each one flowing into the other and depicting a specific attack or counterattack vital to the technique being studied.
Katas are also used to grade students, with black belts sometimes having to perform every single kata ever learned to illustrate their mastery before being promoted. A single misplaced foot or a loss of balance can make the difference between a good kata and a great kata!
But the kata isn't only to help you perfect the physical motions. It also encourages the artist to look inside beyond the simple moves into an almost meditative state. Indeed, many martial artists perform katas not to improve themselves so much physically as to increase their inner awareness of their own person and how to improve their skill with a purity of mind and body.
With this in mind, let's go back to helping you learn your kata. First, don't look at the entire kata as a huge sandwich you need to eat all in a single bite. Break it down into individual movements. After all, a kata is nothing more than connecting all of these forms into a single group.
Look at each movement and the reason behind it. Is it a defensive reaction? A form of attack? How does it flow into the next one or the one before it? When you see the overall ebb and flow of a kata it's easier to remember the movements as you would a popular dance step or top song lyrics.
Group them into smaller sections of three to five movements and practice them over and over in these sets. Memorizing fifty moves may seem impossible, but doing three or four moves at a time will be much easier. Then mentally when you complete one set you can begin the next three or four after it. Start at the beginning and make sure that first group is as perfect as you can make it before moving on to the next group and the next. You'd be surprised at how much you can remember when you're taking bite-sized portions instead of trying to jam the entire sandwich into your mouth!
Perform in front of a mirror to help you see possible flaws in your movement if no one is available to help you. Check the angles of your feet, arms and back to make sure that you're in the right position to move to the next form. If it feels wrong, it probably is – remember that these katas have been around for decades and have been performed by millions of artists, so if your foot is twisting unnaturally from one side to the other it's likely that you're the one at fault, not the kata. Even the smallest adjustment can make a world of difference and allow a more even flow from section to section.
Maintain a calm, rhythmic breathing at all times. Huffing and puffing won't get you through the forms any faster, and will only hinder you in the long run. Take your time, perfect each movement and take a deep breath when needed. You don't get points for racing through a kata, even if you've seen it done faster. Remember that those black belts dancing their way around the floor with swords or a staff in hand once were just where you are – learning the basics and going at a slow pace to perfect their form and movement. Speed may be flashy, but in the long run you will be judged on how accurately you follow the kata, not how quickly you twirl the swords or how loud your yell is.
Learning a kata can be a rewarding experience, allowing you to grow both mentally and physically. The next time you find yourself faced with a difficult kata take some of these tips and see if they can help you master these moves easier and assist you in moving to the next level in your chosen art!
Written by Sheryl Nantus
Sebastian Coquin Traditional Form at Quebec Open 2009 Kata Unsu
Gyaku-zuki (逆突き), Reverse Punch
Yori ashi gyaku zuki by Kagawa sensei
Reverse Punch Drill by Hakim Walker
Warren Levi Karate - Reverse Punch Drill
Reverse Punch Drill by Hakim Walker
Warren Levi Karate - Reverse Punch Drill
Wednesday, May 27, 2009
Tuesday, May 26, 2009
Saturday, May 23, 2009
Kiai (気合)
Kiai (気合) (pronounced key-eye) is a Japanese term used in martial arts. There are numerous examples of the battle cry in other cultures: kiai is perhaps primarily a development of this. In the representation of Asian martial arts in cinema and in animated cartoons, Kiai are often written as Hi-yah!, Aiyah!, or Hyah!. In the board game Go the term describes fighting spirit - see go terms for this use.
Use in martial arts
In martial arts, the term commonly refers to a short yell before or during a strike or technique. Korean martial arts may call this sound a Yatz or Kihap (기합). In bujutsu (Japanese arts of war), it is usually linked to an inner gathering of energy released in a single explosive focus of will. Students of martial arts such as aikido, karate, kendo, taekwondo or judo (or related arts such as taiko drumming) use kiai when executing a technique. It also refers to the shout that accompanies some techniques when performing kata. Kiaijutsu is the Japanese art of using kiai when performing martial arts.
The proper use of kiaijutsu involves concentrating on the use of one's ki more than it does shouting. A sound is just an audible indication of good kiai (aligned body structure, focused intent, and good breathing). Kiai can be a silent;[1] coordination of breath with activity. A relaxed and powerful exhalation can add power to movement. This may be more accurately referred to as kokyu power. Kokyu and kiai are sometimes used interchangeably. The term kokyu, most often translated as breath power in English, is essentially the same as Chinese nei jin. It is the ability to coordinate breathing with the execution of a jin movement which is important.
The noise from a kiai is said to arise from the hara or dantien: it involves the abdominal muscles and diaphragm and should not be sounded merely from the throat.[2]
As well as the above, the kiai can be used to:
prime oneself for combat, by "amping up."
protect the upper body from a strike by providing an escape route for exhaled air.
protect the lower body by rapidly contracting the transverse abdominals and other core muscles, shielding the internal organs.
provide solid abdominal support for striking techniques.
startle and demoralize actual or potential adversaries -- especially at close quarters, or if previously unobserved.
Etymology
Kiai appears to be a compound of ki (気) meaning mind, breath or spirit and ai(合, 合い), a stem of the verb awasu (合わす), "to unite"; therefore literally "concentrated or united spirit". However, Frederick John Lovret notes, "One should note that ai, the conjunctive stem of the verb au, does not mean "to join" in this case: when used in the second position of a compound word, ai becomes an emphatic marker. Kiai, therefore, should be translated as "spirit!", not "spirit-joined".[3].
Kiai and aiki
A classical aikido throw being practiced. Tori maintains balance and structure to throw uke, while uke safely takes a forward roll (mae ukemi).The two terms Kiai and aiki use the same kanji (transposed) and can be thought of as the inner and the outer aspect of the same principle.[4] Some martial arts schools use the term interchangeably. Otherwise Kiai relates to the manifestation, emission or projection of ones own energy (internal strength), while Aiki relates to the coordination of one's energy with the energy of an external source. Thus kiai is the expression or projection of our own, internal energy while aiki is coordination with an attacker's energy.
This usage of kiai as internal strength, or using one's ki[5] is often found in aiki arts such as aikijujutsu and aikido.[6] In some schools such as the Ki Society, 'keeping one point' (awareness or centredness in the dantian) is described as kiai.[7]
This girl has awesome spirit
Use in martial arts
In martial arts, the term commonly refers to a short yell before or during a strike or technique. Korean martial arts may call this sound a Yatz or Kihap (기합). In bujutsu (Japanese arts of war), it is usually linked to an inner gathering of energy released in a single explosive focus of will. Students of martial arts such as aikido, karate, kendo, taekwondo or judo (or related arts such as taiko drumming) use kiai when executing a technique. It also refers to the shout that accompanies some techniques when performing kata. Kiaijutsu is the Japanese art of using kiai when performing martial arts.
The proper use of kiaijutsu involves concentrating on the use of one's ki more than it does shouting. A sound is just an audible indication of good kiai (aligned body structure, focused intent, and good breathing). Kiai can be a silent;[1] coordination of breath with activity. A relaxed and powerful exhalation can add power to movement. This may be more accurately referred to as kokyu power. Kokyu and kiai are sometimes used interchangeably. The term kokyu, most often translated as breath power in English, is essentially the same as Chinese nei jin. It is the ability to coordinate breathing with the execution of a jin movement which is important.
The noise from a kiai is said to arise from the hara or dantien: it involves the abdominal muscles and diaphragm and should not be sounded merely from the throat.[2]
As well as the above, the kiai can be used to:
prime oneself for combat, by "amping up."
protect the upper body from a strike by providing an escape route for exhaled air.
protect the lower body by rapidly contracting the transverse abdominals and other core muscles, shielding the internal organs.
provide solid abdominal support for striking techniques.
startle and demoralize actual or potential adversaries -- especially at close quarters, or if previously unobserved.
Etymology
Kiai appears to be a compound of ki (気) meaning mind, breath or spirit and ai(合, 合い), a stem of the verb awasu (合わす), "to unite"; therefore literally "concentrated or united spirit". However, Frederick John Lovret notes, "One should note that ai, the conjunctive stem of the verb au, does not mean "to join" in this case: when used in the second position of a compound word, ai becomes an emphatic marker. Kiai, therefore, should be translated as "spirit!", not "spirit-joined".[3].
Kiai and aiki
A classical aikido throw being practiced. Tori maintains balance and structure to throw uke, while uke safely takes a forward roll (mae ukemi).The two terms Kiai and aiki use the same kanji (transposed) and can be thought of as the inner and the outer aspect of the same principle.[4] Some martial arts schools use the term interchangeably. Otherwise Kiai relates to the manifestation, emission or projection of ones own energy (internal strength), while Aiki relates to the coordination of one's energy with the energy of an external source. Thus kiai is the expression or projection of our own, internal energy while aiki is coordination with an attacker's energy.
This usage of kiai as internal strength, or using one's ki[5] is often found in aiki arts such as aikijujutsu and aikido.[6] In some schools such as the Ki Society, 'keeping one point' (awareness or centredness in the dantian) is described as kiai.[7]
This girl has awesome spirit
Friday, May 22, 2009
Thursday, May 21, 2009
Point Sparring Drills and Techniques
PointFighter.com-Blitzing Drills-Alex Reyes
Sparring Drills at NKS
Step-in Backfist Drill by Ross Levine
Superman Blitz Drill by Mike Simmons
How To Sport Karate -- "Cross Step, Turn and Blitz"
Sparring Drills at NKS
Step-in Backfist Drill by Ross Levine
Superman Blitz Drill by Mike Simmons
How To Sport Karate -- "Cross Step, Turn and Blitz"
Wednesday, May 20, 2009
Bo Basics and Tricks
Rock Solid Bo Techniques - Level 1: Bo Basics Clip
Martial Art Bo Staff Techniques : Figure Eight Bo Staff Techniques
Lauren Kearney - Double Double Bo - Weapon
Intense Bo Training with Jennifer Espina
Extreme Bo Tricking with Nate Andrade
Martial Art Bo Staff Techniques : Figure Eight Bo Staff Techniques
Lauren Kearney - Double Double Bo - Weapon
Intense Bo Training with Jennifer Espina
Extreme Bo Tricking with Nate Andrade
Tuesday, May 19, 2009
Young Black Belt
Thought this was a really cool video of a young child doing a version of Pinan Godan.
Monday, May 18, 2009
Sunday, May 17, 2009
Karate Kata
Karate Kata:
Kata (型 or 形) (literally: "form") is a Japanese word describing detailed patterns of movements practiced either solo or in pairs. Karate Kata are executed as a specified series of approximately 4 to 40 moves, with stepping and turning, while attempting to maintain perfect form. The practitioner is counseled to visualize the enemy attacks and their responses. Karateka "read" a kata in order to explain the imagined events. There are perhaps 100 kata across the various forms of karate, each with many minor variations.
Teaching Kata:
Traditionally, kata are taught in stages. Previously learned kata are repeated to show better technique or power as a student acquires knowledge and experience. It is common for students testing to repeat every kata they have learned but at an improved level of quality. The student will perform one new kata and one or two previous ones, to demonstrate how much they have progressed.
The various styles of karate study different kata, or variations of a common core. Some kata may therefore be known by two names, one in Japanese, the other in Okinawan/Chinese. This is because Master Funakoshi renamed many kata to help Karate spread throughout Japan.
The Ten Points of Kata:
All Karateka should study the Ten Points of the Kata and consider these when practicing each Kata
YOI NO KISIN: The spirit of getting ready. Be prepared for your opponent in the Kata.
INYO: The active and the passive. Consider both the offensive and the defensive aspects of the Kata.
CHIKARA NO KYOJAKU: Use of strength. Balance your power in relation to the movements in the Kata.
WAZA NO KANKYU: Speed of movement. The speed of each movement in the Kata.
TAI NO SHINSHUKU: Expansion and contraction. The form of the body in the Kata.
KOKYU: Breathing. Understand breath and posture control in relation to the movements in the Kata.
TYAKUGAN: Targeting. Know the purpose of each movement in the Kata.
KIAI: Shouting. Demonstrate good martial spirit in the Kata.
KEITAI NO HOJI: Positioning. Movement and stance in the Kata.
ZANSHIN: Alertness. Retaining your guard (alertness) for the whole of the Kata, and beyond.
Kata (型 or 形) (literally: "form") is a Japanese word describing detailed patterns of movements practiced either solo or in pairs. Karate Kata are executed as a specified series of approximately 4 to 40 moves, with stepping and turning, while attempting to maintain perfect form. The practitioner is counseled to visualize the enemy attacks and their responses. Karateka "read" a kata in order to explain the imagined events. There are perhaps 100 kata across the various forms of karate, each with many minor variations.Teaching Kata:
Traditionally, kata are taught in stages. Previously learned kata are repeated to show better technique or power as a student acquires knowledge and experience. It is common for students testing to repeat every kata they have learned but at an improved level of quality. The student will perform one new kata and one or two previous ones, to demonstrate how much they have progressed.
The various styles of karate study different kata, or variations of a common core. Some kata may therefore be known by two names, one in Japanese, the other in Okinawan/Chinese. This is because Master Funakoshi renamed many kata to help Karate spread throughout Japan.
The Ten Points of Kata:
All Karateka should study the Ten Points of the Kata and consider these when practicing each Kata
YOI NO KISIN: The spirit of getting ready. Be prepared for your opponent in the Kata.
INYO: The active and the passive. Consider both the offensive and the defensive aspects of the Kata.
CHIKARA NO KYOJAKU: Use of strength. Balance your power in relation to the movements in the Kata.
WAZA NO KANKYU: Speed of movement. The speed of each movement in the Kata.
TAI NO SHINSHUKU: Expansion and contraction. The form of the body in the Kata.
KOKYU: Breathing. Understand breath and posture control in relation to the movements in the Kata.
TYAKUGAN: Targeting. Know the purpose of each movement in the Kata.
KIAI: Shouting. Demonstrate good martial spirit in the Kata.
KEITAI NO HOJI: Positioning. Movement and stance in the Kata.
ZANSHIN: Alertness. Retaining your guard (alertness) for the whole of the Kata, and beyond.
Bunkai:
Bunkai (分解), literally meaning "analysis" or "disassembly", is a term used in Japanese martial arts referring to the application of fighting techniques extracted from the moves of a "form" (kata).
Bunkai is usually performed with a partner or a group of partners which execute predefined attacks, and the student performing the kata responds with defenses, counterattacks, or other actions, based on a part of the kata. This allows the student in the middle to understand what the movements in kata are meant to accomplish. It may also illustrate how to improve technique by adjusting distances, time moves properly, and adapt a technique depending on the size of an opponent. Some kata have another layer of application that is taught using an Oyo Bunkai. Different practitioners will learn or discover alternative applications, but the bunkai, like the kata, varies based on the style and the teacher.
A single kata may be broken into anywhere from a few to a few dozen applications, and the same sequence of kata moves may sometimes be interpreted in different ways resulting in several bunkai. Some martial arts require students to perform bunkai for promotion.
Bunkai can be obvious or elusive depending on the technique in question, the moves preceding and following it, and the individual practitioner. There are usually many stages of depth of comprehension of bunkai only reached through the passage of time. The terms toridai and himitsu are used to refer to techniques not readily seen to the casual observer and hidden techniques within kata. For example, in Gōjū-ryū karate, two-man kata training is used to reinforce bunkai and correct technique. If techniques in the kata are not performed correctly they will not be effective in two man training.
Bunkai (分解), literally meaning "analysis" or "disassembly", is a term used in Japanese martial arts referring to the application of fighting techniques extracted from the moves of a "form" (kata).Bunkai is usually performed with a partner or a group of partners which execute predefined attacks, and the student performing the kata responds with defenses, counterattacks, or other actions, based on a part of the kata. This allows the student in the middle to understand what the movements in kata are meant to accomplish. It may also illustrate how to improve technique by adjusting distances, time moves properly, and adapt a technique depending on the size of an opponent. Some kata have another layer of application that is taught using an Oyo Bunkai. Different practitioners will learn or discover alternative applications, but the bunkai, like the kata, varies based on the style and the teacher.
A single kata may be broken into anywhere from a few to a few dozen applications, and the same sequence of kata moves may sometimes be interpreted in different ways resulting in several bunkai. Some martial arts require students to perform bunkai for promotion.
Bunkai can be obvious or elusive depending on the technique in question, the moves preceding and following it, and the individual practitioner. There are usually many stages of depth of comprehension of bunkai only reached through the passage of time. The terms toridai and himitsu are used to refer to techniques not readily seen to the casual observer and hidden techniques within kata. For example, in Gōjū-ryū karate, two-man kata training is used to reinforce bunkai and correct technique. If techniques in the kata are not performed correctly they will not be effective in two man training.
Saturday, May 16, 2009
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