What’s The Difference Between Karate & Tae Kwon Do? (Part 1)

Karate and Tae Kwon Do are related styles.  Tae Kwon Do is largely based on Shotokan Karate.  When Karate was first introduced to Japan by Funakoshi, it had very few high kicks.  As high kicks became more prevalent in Karate decades later, some Karateka turned to Tae Kwon Do to perfect these kicks.

So both styles have been influenced each other to some degree, yet they have a very different flavour and (sadly) often a lot of rivalry.  So I thought I would have an unbiased look at what the differences are, and what has influenced them to become so different.

This is not intended to be an attack on either system.  Instead, I hope it will give people of either style a better appreciation of where the other style is coming from.  I have to confess though that whereas I have a in depth knowledge of Karate, I am basing my opinions on Tae Kwon Do on my observations; so I don’t claim that I am necessarily 100% correct.

I also have to point out that as there are many styles of Karate and Tae Kwon Do and that my Karate observations will be mainly from a Shotokan (and the older traditional Karate styles) perspective.  Tae Kwon Do has been through a number of incarnations starting with a form that was quite close to Karate, through to a much more Olympic sport oriented version.   Therefore we have to accept that not all of my observations will apply to every Karate/Tae Kwon Do style.  These observation are intended to be of a general nature.

So having established that, what actually drives the differences?  I would say that the main driving factor is that Karate is primarily focuses on hand techniques with legs as backup, whereas Tae Kwon Do is primarily a kicking style with hands as backup.  This leads to a number of other changes as the styles gear themselves up for their favoured techniques.

The first thing is the stance.  The Karate stance is generally lower.  As Karateka focus on hands, the legs are often more “coiled”, ready to drive the body forward.  The body weight is lower, knees relaxed but more bent and the legs often have a feeling of being “sprung-loaded” ready to drive forward.  This is very sensible for a puncher.

However, if you are primarily a kicker, you may not want your legs “spring loaded”.  Tae Kwon Do fighters often like to kick of the front leg.  To do that, you want your legs to be “looser”, with the stance generally higher and legs straighter.

One of Karate’s most favoured techniques is the reverse punch.  To do this properly you need a full hip rotation.  This in turn means that you feet (when viewed from the front) are about shoulder width apart and the weight distributed fairly evenly between the feet.

If however, your favoured technique is a leading leg kick, you are more likely to fight with your feet in line and most of weight on your back leg, allowing that front leg to come up very easily.

The first time I sparred with my brother in law who is a 2nd Tae Kwon Do, we took up our fighting stances and squared up to each other.  With a bit of a smile on his face he looked at me and said, “big target”.  My first thought was, “is he trying to say I’m fat”?  However, it got me thinking.  He had been taught that standing side on makes you a smaller target.  With respect to Tae Kwon Do people who are taught that, I think that’s a flawed argument for several reason.

  • Many Tae Kwon Do techniques are aimed high at the head and if you train for hitting the head, then the torso is a much bigger target (side on or front on).
  • With circular techniques like roundhouse kick/turning kick, which come in from the side, a side on profile obviously offers the larger target.
  • Many of us (unfortunately) have a side profile as wide as our front profile 🙂

Respectfully I would suggest to Tae Kwon Do fighters that your side on fighting stance has nothing to do with being a smaller target, it is to do with your front leg kicking being much easier.

Punching is also effected.  In Karate, the punch is powered by the hips with the shoulders relaxed and low.  The “spring loaded” legs also drive the hips round very fast.  In Tae Kwon Do, the punch is also primarily powered by the hips.  However, when feet are in line (for front leg kicking), it is not so easy to get the hip round.  Also with the legs almost straight (not spring loaded) the hip rotation is not so easy to drive forward.  Therefore Tae Kwon Do compensates by committing the shoulders slightly more than a Karateka does.  Being a newer art than Karate, Tae Kwon Do has some boxing/kickboxing influences which the older traditional Karate styles do not have.  Boxing/kickboxing also commits the shoulder that little bit more than Karate.

The arms are also held differently in the fighting stance.  Being Karate’s main weapons, a Karateka will tend to be hold the arms more forward (a Karateka will usually expect to engage with his hands/arms first).  The arms provide a defensive barrier keeping the opponent at bay and allowing time for the hands to cover the both the head and body.  The leading hand usually points towards the opponents head, ready to extend the moment the opponent come to close and also guards his own head.  The rear hand is usually about stomach height ready to take a powerful finishing blow and also covers the lower torso.

Tae Kwon Do fighters on the other hand expect to engage with their legs first.  Kicks to their body are often intercepted with their own leg coming up looking for an opening to counter kick.  There hand therefore tend to be kept further back and higher to guard to head (as the legs already guard the body).

So that to my mind is the main differences between Karate & Tae Kwon Do.  Both can kick and punch.  However, Karateka will not kick as efficiently, especially of the front leg as half of their weight is on that leg.

Tae Kwon Do people will not punch as efficiently as their legs are not sprung loaded to drive forward and the feet being in line makes the hip rotation that little bit more restricted.

I hope this will give a better understanding on the differences and with that understanding, hopefully a bit more tolerance.  I hope people will comment and leave their views, just keep it respectful or comments will be deleted.

 

Pre-Emptive Strike: Modern Reality Based Training Or Traditional Karate

I am a big admirer of Geoff Thompson.  He has done a lot to promote the cause of reality training and is very much into keeping it real.  His training methods are often as much about how to avoid getting into a fight (not taught in many martial arts) as has how to actually conduct the fight itself.  Traditional martial arts generally teach you how to win in a fair fight.  But that’s the problem, most fights aren’t fair.  Sometimes you could be outnumbered, your assailant(s) could have a weapon and they often start from right up in your face without warning (rather than bowing first from a safe distance before gradually moving in).

So assuming that you’ve done all the avoidance techniques and the guy is still coming in and it is clear that the conflict is going to become physical, what is universally the best tactic to use?

Note, I said tactic, not technique.

In the words of Geoff Thompson himself:

“And if an encounter does by necessity become physical I teach and I preach the pre-emptive strike (attacking first). It is the only thing that works consistently. All the other stuff that you see, that you are taught or that you imagine might work ‘out there’ probably will not”.

And:

“If your choice is a physical response, my advice is to be pre-emptive and strike first – very hard – preferably on the jaw (it’s a direct link to the brain”.

In the Karate world in particular, people used to quote Funakoshi when he famously said:

“In Karate, there is no first strike”.

This has been taken to mean that we have to actually wait for an attacker to throw the first strike and then try and block and counter it.  This is a dangerous game to play.  Geoff is spot when he describes this as:

“not only unsound it is dangerous and extremely naive”.

It’s not so bad when you are in a competition and your opponent is just out of range, then suddenly tries to attack (usually whilst still maintaining full leg or arm range).  But in a street where somebody may be right up in your face, nose to nose, screaming obscenities at you, its not so good.  Also, in a street fight an attacker is likely to grab you and pull you around or off balance (a tactic that is banned in Karate, TKD, Kickboxing and some others sport fighting systems).

So why would Funakoshi give advice that would leave his students in a vulnerable position?  Well it is widely accepted by many now that something has been lost in the translation and what Funakoshi really meant was, that you don’t instigate or look for the fight.  However, when in a  situation when physical threat is unavoidable and you cannot get away, Funakoshi wrote in his book, Karate Do Kyohan:

“When there are no avenues of escape or one is caught even before any attempt to escape can be made, then for the first time the use of self-defense techniques should be considered. Even at times like these, do not show any intention of attacking, but first let the attacker become careless. At that time attack him concentrating one’s whole strength in one blow to a vital point and in the moment of surprise, escape, seek shelter, and seek help.”

Funikoshi is clearly talking about a pre-emptive strike.  He recommends that you strike a “vital point” which is not so different from Geoff Thompson recommending that you strike the jaw as it has a direct link to the brain.  He was trained for reality, not competition.  This is the part that has been overlooked in the way that so many people have trained for a number of decades.  I believe that this is largely because Karate has been dumbed down (see my 5 part video course if you haven’t already) and the fact that for such a long time Karate has been interpreted through the eyes of competition fighters.

Geoff Thompson and the other modern reality based martial arts teachers are not the first ones to train this way.  Clearly the old Okinawan masters did too.  However, after decades of being dumbed down for social and political reasons, Geoff and the other masters of reality based training have helped to bring the “lost” elements to help us make our training more complete.

Some people will (quite reasonably) have a concerns about the legalities of using a pre-emptive strike.  Firstly, as you can never be sure how far an attacker will go, it is best to make that you are still around to deal with the legalities.  No point being killed for the sake of worrying about going to court.

Secondly, in the UK at least (and I suspect most other countries), if you feel that you are in a real danger of being harmed by a would-be attacker, you are legally entitled to use a pre-emptive strike.  I don’t know about other countries, but this is a defence that will stand in a British court.  However, you will have to give good reason why you thought that you were in very real and very imminent danger.  Somebody giving you a dodgy look will not be accepted.

The Martial Arts Paradox: By Russell Stutely

I received the following posting from Russell Stutely as I’m signed up to his newsletter.  I thought it made such a good point that I decided to share it with you.  It emphasises the point that I keep trying to make about learning your kata bunkai and understanding what the moves are really for.  I hope you enjoy it.

“The paradox of making the MA simple yet incorporating a lifetimes of study. How can it be achieved? Has it been done before? What will happen to our system?

Of course this has happened before. It has happened with every single MA out there. Every single one has been simplified from where it was, made easier than it once was.

The knowledge of the art has become much more superficial. Lifetimes study to truly understand Kata has lost its real meaning. It does not mean, keep training till you can perform the Kata correctly all the way through and score 10 out of 10 from every judge. It means it takes a lifetimes study to truly understand why every move is made and what it is really for.

Now, maybe in the old days with slow communications it took a lifetime, but not now. We can be anywhere in the World in a day, back then it took a day to travel 30 miles.

This simplification that has happened in for example Shotokan, has resulted in a system with 3 or 4 punches, 7 or 8 kicks, a few  blocks, a few stances and a load of Kata.

Which, for the majority, is just some combinations of the above in a set order. Is that really a lifetimes study? To put this into perspective, about 15 years ago I was watching a tape with all 26 Shotokan Kata on.

My sister, a Dance Teacher, saw it and said that it looked real easy to learn. I told her she knew nothing about the MA and not to be so silly, as these Kata are known by only the very top people who have taken years to learn them.

She replied, with “I could learn them in a week”. The bet was on. I lost, convincingly.

She performed them superbly well. No in depth knowledge, but the performance of the moves was beyond reproach!

Does this sound like a watering down to you? The performance of the moves is there, but with no depth of knowledge.

A perfect singer, who is singing in a foreign language. Hitting all the right notes, but not understanding a word!

More later

Kind Regards

Russell

www.RussellStutely.com

How To Put The “Whip” Into A Linear Punch (Part 2)

In Part 1 of How To Put A “Whip” Into A Linear Punch, I looked at how to use the hips properly to generate a waveform motion through the body for basic punches.  Many people struggle with this because as beginners we tend to move the whole torso as one, rather than generating movement from the hips and simply relaxing the rest of the torso so as to let it flow naturally.  This puts tension into the body and takes away our power.

The method used in the first video is great for single basic techniques, especially Choku Zuki (straight punch in upright standing stance) and Gyaku Zuki (reverse punch), where we end with the hips square to front or just 10 to 15 degrees past square.  Well in this next video we take it a step further.  When you snap a towel (or your belt), you have a “pull back” just at the end of the forward movement.  We can incorporate this “pull back” to gain extra whip/snap when we perform a snap punch, or multiple techniques (e.g.  stepping punch, reverse punch or block then reverse punch).  That pull back at the end of the first techniques not only puts an extra whip/snap on the end, but also initiates the hip movement for the second technique.

Now I know that not everybody will have been taught this way, so before you watch my video, please have a quick look at this one by Master Kagawa, 8th Dan Shotokan Karate and Technical Director of the JKS.  As he performs Age Uke (rising block) you can clearly see his hips rotate fully, then just settle back slightly at the end of the movement.  This settling back (or pull back) gives that extra little “whip” on the end the rising block and can be used to initiate the next technique (which is usually a reverse punch).  So for anybody who has not seen this before (and there will be very many who haven’t), I’m not making it up.  This is nothing new, it’s always been there, its just always explained in detail.  I’ve been lucky with my teachers.

[Waveform punch Part 2]

How To Put The “Whip” Into A Linear Punch

I usually focus on the practical application of techniques on this website, but today I’m actually going to focus on technique itself.  I think this one is important, as it can greatly enhance the power of your punches and other strikes.

The Karate masters of old often taught that we should use our body like a “whip”, but this is not always easy to do, especially if you practice a predominantly linear style.  In practically all sports, power is generated from the hips, transferred to the shoulders, then to the arms/hands.  However, people often struggle to do this in linear styles.  I believe that this is because we are often taught that everything finishes together, whereas in most other activities they are taught to move in sequence.  I believe that this is partly brought about by the fact that we focus (kime) into one spot, whereas in most other disciplines (including other sports) they move through their target.  When a golfer hits the ball, he does not stop there, he moves right through it (as does anybody using any kind of racket or bat to hit something).  When somebody throws a ball, they do not stop at the instance of release, they move through that point.

Yet with a linear punch, we stop dead at the point of focus, especially in basic form.  Even in freestyle, at the point of focus we strike and retract rather than moving through, and I think this is what causes the problem for so many.  Many people end up moving the shoulder and hips together, rather than in sequence like everybody else.  The only way we can move shoulder and hip together is by tightening the muscles of our torso and locking them together.

Yet we are always told that we should be as relaxed as possible and that movement comes from the hips . . . . . . . or as some would say, the Hara (Japanese) or Dan Tien (Chinese).

If we are locking the shoulders and hips together, we cannot be completely relaxed.  Also, movement cannot be said to come from the hips (Hara/ Dan Tien) as the whole torso moves as one.

If we truly generate the power from the hips and we are truly relaxed in out torso, then the hips should move first, creating a small rotational stretch in our body as the shoulders are left fractionally behind.  When stretched, the body naturally wants to return to its original shape, so the shoulders will start to rotate as well, just fractionally behind the hips.  However, as we are not actually focusing on our shoulders and the torso is relaxed, there will be a feeling of the shoulder and arm being “thrown” by the hip, rather than having to focus on moving them and extending the arm.

Chinese circular styles seem to achieve this whip like feeling more easily as a circular techniques goes through its target and does not stop at the point of impact (unlike a basic linear punch).  Some of the modern day masters talk of a putting in a waveform motion.  The Russian martial art, Systema (The System) also talks of a waveform.  This is often compared to the standard Karate/TKD punch and advocated as being much more powerful.  However, I believe that this is because most people are not really aware of how to put the waveform into their linear technique.  Using the method described above and demonstrated in the video below, it is relatively easy to get this waveform (whip) into a linear punch.

I must put in one disclaimer however, and that is that many advanced Karateka/TKD practitioners do this naturally as they learn to relax.  However, I don’t think that most of them are actually aware of the mechanics of it, certainly very few will explain it in this manner.

When I’ve shown this before, I’ve had people say that they loved it, but had never seen anything like it in their own club.  I believe that I may have “re-framed” things a bit, but everybody should be training this way.  By re-framing it I hope to make it clearer; I am not introducing something new here.  If this concept is new to you, please give your feedback below on what you think of it.  If you have been taught this concept, but this video makes it clearer please tell me.  If you think I’m a mad Karate heretic, then say so 🙂

[Waveform punch]

Shihan Kousaku Yokota’s New Book – “Shotokan Myths” (More Than Just Shotokan)

Shihan Kousaku Yokota, 8thDan Shotokan Karate is releasing a new book, Shotokan Myths, which should be available from mid December.

Firstly, I would like to say that so many other styles have spawned from Shotokan, that this book should be valuable to a far wider audience than just Shotokan Karateka.

So who is Shihan Kousaku Yokota?

Yokota is an 8th Dan with 46 years of Shotokan Karate experience. He specializes in Asai ryu karate which is based on JKA style Shotokan with some White Crane Kung Fu blended in.  He also practiced Okinawa kobudo (nunchaku, sai, tonfa, 3 sectional staff and 7 chain whip).

I have read some of Yokota’s articles in Shotokan Karate Magazine where he wrote about how a number of myths have developed over the years and become ingrained into Shotokan folk lore (and from there into numerous other styles of Karate and TaeKwonDo).  He exposes many of these myths in an intelligent and well informed manner, explaining historical, social and practical reasons why certain practices have been introduced and how they have come to be accepted as “traditional” Karate practices, when in fact many of them are relatively new to the Karate world.

So on a blog that focuses largely on practical applications (bunkai) to traditional martial arts, why would we be interested in myths and the historical/social reason surrounded their coming into being?

Well simply put, if we know what is “real” from what is not, then we can make more informed decisions.  We tend to look how to apply our katas/patterns/forms, but knowing the influences that effected them can change the application.  For example, in one article in SKM, Yokota examined the myth that all kata’s should start and finish in the same place.  This was never a requirement for the Okinawan masters.  However, when Funikoshi took it to Japan, Karate started being taught to much larger numbers of people.  There was not the same small close group of master and only a few special students.  Therefore the students had to be given a way to measure their own performance.  Having katas finish on the same point that they started gave a form of measure (for example, consistent stances length in both direction).  To achieve this, some of the katas had to be adapted.  Most Heian/Pinan kata’s today follow a capital “I” shape.  However, originally the shape of the kata was more like a double headed arrow.  For example, in Kihon kata (or Heian Shodan/Pinan Nidan/Dan Gun), after doing the 3 stepping punches, instead of performing a 3/4 turn (270 degrees) it would have been a 5/8 turn (225 degrees).   This made it difficult to return to original starting position, hence changing it to the “I” shape that is so familiar today.  Many people interpret this movement as a throw.  But knowing why the change came about, gives us the clue that we do not have to spin round quite so far to execute that same throw, actually making it a bit easier to apply!

Other changes have been made to standardize katas to make them easier to judge in competition.  Knowing these things may alter how you perceive the application that put to this movement next time you examine your kata.  This is why knowing fact from myth is important to being able to practically apply your katas.  It is not just an academic exercise in learning history (though this can be very interesting in its own right).

Yokota is thorough in his research and explanation.  I therefore commend Shotokan Myths not only to Shotokan Karateka, but to all styles that have Shotokan in their lineage.
You can now get this book from Amazon

 

Back To Basics With Al Peasland

Al Peasland (5th Dan with the British Combat Association, 3rd Dan Traditional Karate and internationally renowned teacher) wrote an interesting article on “Back To Basics”.  In this article he compares an experience he had learning to ski with how he teaches self protection.  He spent most of the time learning how to do “the plough” (position where the front of the skis point inwards, forming a triangular plough shape).

Al asked why they spend so much time in the plough position when it is not the way that they do “real skiing”.  The instructor explained that practicing the plough gives you control over the snow, when you have that, the rest of the fancy stuff can be mastered.  But without control over over the snow, the ability to ski fast, turn and (most importantly) to be able to stop; will be very difficult to learn.  When you see a good skier whizzing down a slop, skis parallel, twisting and turning around obstacles, you don’t see the plough.  Yet without learning the plough first, you would not see the speed and agility.

So (as Al explains) it is with martial arts and self protection.  Without learning the basic stances, basic techniques and sparring/drilling routines, you would not have a very a structure that you could use under pressure.

Although I am a further down the martial arts food chain than Al, I agree entirely.  People often talk of “muscle memory”.  However, muscles don’t have memory, only the brain does.  When you do a movement, any movement, or even a particular behaviour pattern, you fire a series of tiny electrical signals across the brain.  These are the parts of the brain that control that movement or behaviour.  When you repeat a movement over and over, those tiny electrical signals get stronger and the brain forms more links inside to carry the stronger signals.  This is called a “neural pathway” through the brain.  It is here, rather than the muscle that the memory of movement is stored.  The more we practice a movement over and over again, the stronger and bigger that neural pathway becomes, until eventually we no longer have to put in any conscious thought, we just fire the neural pathway and instinct takes over.

This is what we want when under pressure.  We want such strong, deeply rooted neural pathways, that we don’t need to think about how to punch/strike/kick etc.  We just want to be able to think this is it, action, and the rest just happens automatically.  The main difference between a master and a beginner is not necessarily their strength or physical prowess, it is the strength of these neural pathways, forged by years and years of repetition.

People often look for the quick fix (which is human nature).  Partly for that reason, pressure point fighting has become popular over recent years.  However, as I’ve said before, if you don’t know how to hit, if you can’t move with speed and accuracy, you will not be able to strike pressure point targets effectively.

Whatever your style of martial art, practice basics, basics then some more basics.  It is the only way to really be able to perform under pressure.  I promote the use of practical bunkai on this blog, but without good basics you will struggle to make them work.

I liken it to the foundations of a building.  The first thing the builders do is to dig a bloody great hole and fill it in with ugly cement and steel.  When the nice new shiny building is finished, you don’t see those foundations, you don’t see that hole and cement.  You only see the building on top.  But without that cement filled hole, the building would easily collapse.  So it is when you see a great fighter performing great athletic feats, breaking boards, fancy jumping kicks or annihilating an opponent.  You don’t see the years that the same fighter spent in a basic stance practicing a basic technique over and over again until he/she had a really deep foundation and incredibly strong neural pathways.

And let face it, if it was easy to learn in a few weeks, then all the muggers and predators would have done it to, so they would know what we know.  What sets us aside as martial artists is that we take the time to study and to evolve.  And in so doing we not only become better able to defend ourselves, but we become better human beings in the process.

The Humble “Yoi”

The kata’s (patterns/forms) within a traditional style often have different salutations and ready positions.  This would indicate that they have different meanings, beyond being just a salutation.  Think about it, if they were no more than just a salutation, why would they not be standardised.  Why would any style need more than one salutation which it would use on all of its kata’s/patterns/forms.

Logic would suggest that these salutations/ready positions are moves that could stop an opponent early in the proceedings, before a full blown fight breaks out.  If that does not work, then its into the kata to use techniques that will deal with a full blown fight.

The most common salutation or ready position in Karate is the “Yoi”.  The performance of the Yoi may vary from style to style, but generally the arms come up to head height (sometimes higher) then circle inwards and downwards, crossing over your center line, then back outwards, before settling just about hip height at  about a torso width apart.

Here’s our interpretation of how to use the humble Yoi against somebody who is acting aggressively, to turn the tables on them and put them in a position of disadvantage which you can exploit as you see fit.

Please tell us what you think.  Is your Yoi or salutation very much different?  Do you see the Yoi as being no more than a salutation with no practical function, or do you see it as a functional movement as we do?  Feel free to leave your opinion in the comment box below.

Yoi

7 Questions to Enhance Your Bunkai

This is an intersting article from www.ikigaiway.com which is very relevant to the aims of this blog as well.  I hope you enjoy it:-

“Without bunkai (applications), kata is little more than pre-arranged dancing. The hands can be flowing in exciting and vibrant ways but if we never discover the meaning of the motion then our time would be much better spent hitting a heavy bag or sparring.

Bunkai is the key to developing useful and effective techniques preserved for us by those individuals who developed and tested them in fierce, life protection situations. Over the course of time much of the true meaning of these movements has either been lost or purposefully disguised. If your desire is to unlock some of the skills of our predecessors, you’ll need to know the right questions in order to find the best answers.

The following are seven things to ask yourself that might illuminate your kata in a different (and hopefully productive) way. These are in no particular order and are not prescriptive. Use some when you can and invent others.

eizo shimabukuro bunkai

1. Can I change the angle in which I address my opponent?

Many times during bunkai we assume that an opponent is coming straight from the front or from the sides, and that we must stay directly in front of them and try to defend. What happens if you cut a 45 degree angle during your technique? What if turning from left to right allowed you to arc around the same opponent instead of addressing a new one?

2. What came just before and what is coming right after?

When we learn kata, it generally occurs in a set cadence. Step1 – block up. Step2 – block down. Step3 – punch kiai! That being the case, our mind generally sections itself off in those little boxes. It is our job to look at what is occurring right before our current technique and right after and how the body moves from one to the next. Stringing techniques together makes for a more devastating outcome to your opponent.

3. Am I utilizing all of the technique or just the end piece?

Techniques are often more dynamic than we give them credit for. Take for example the knife hand block. When we perform a knife hand block we generally step somewhere, prep the block, and then shoot the block out. The block itself is what we use to defend against an attack, but what about all the stuff that came before it? Can’t we use that too? Can’t the body shift be used to off-balance or attack our opponent, and can’t the prep be used to either defend or attack?

4. Can I condense the number of opponents I have to face to get through my applications?

If you find yourself going through a dozen bad guys for your bunkai you may be too segmented. In order to mentally escape from a tricky technique we often dismiss the current bad guy and invite a new one in from a different direction. Worse yet, if we are using two hands at once and don’t really know what’s going on we might invite two bad guys to attack us at once from different directions. Multiple opponent training is valuable, but kata is not suggesting that GuyA is likely to kick low while GuyB punches from behind. Those scenarios are too unlikely and miss the real intent of what’s happening. Condense the number of opponents as much as possible.

5. Are my opponents behaving naturally and with likely techniques, or am I forcing them into increasingly unlikely scenarios?

Patrick McCarthy Sensei developed the acronym HAPV, or habitual acts of physical violence. The point of HAPV is to keep focused on the techniques you are most likely to encounter. Furthermore, the longer you make the string of actions done by your uke the more unlikely an actual attacker will follow that pattern. Therefore, when performing bunkai, we want our opponents acting as naturally as possible. If the opponent has to punch, step back punch, step back punch, step back block up and receive your strike, you’ve asked your uke to behave in a way they never would in real life.

6. Have I affected my opponent in a way that makes more technique work?

Let’s say you manage to block your opponent (so far so good). You then put them in a wrist lock or arm bar in order to control them. That progression seems very effective, especially after years of training, and generally works in the dojo. However, if you’ve ever come across a live opponent who is experiencing adrenaline dump you’ll know that manipulating that arm is extremely difficult. Your attempts to bar or lock it will be met with iron resistance and counter punches to your face. Always be sure to negatively affect your opponent as soon as possible, then go into more technique.

7. What is the emotional content of my encounter?

What kind of scenario is your kata taking place in? Is it a school yard pushing match? Is it a life or death home invasion? The emotional environment you place yourself in is going to alter your bunkai dramatically. Your technique may need to restrain or it may need to kill.

Mental Gymnastics

With all of these questions/problems/complications we have to address the concept of simplicity. In a real life altercation, your simplest and most effective techniques will be the ones that help you. Thinking about responses in the heat of the moment will keep you one step behind your opponent.

Why then bother with all of this business about bunkai? Shouldn’t we simply practice a series of basic, effective techniques and avoid the mental gymnastics?

The short term answer is yes. For the first 5-6 years of your training you need to become “brilliant at the basics”, as Bill Hayes Sensei would say. Without a rock solid foundation and instinctual integration of your style’s stances, punches, and basic techniques nothing else can be built firmly. However, once you do achieve that level of proficiency, you acquire the privilege of exploring your art even deeper and improving the way you go about your business.

Simple techniques practiced a certain way seem like the best option until you learn how to improve them. That doesn’t necessarily mean complicate them. Instead the goal is to find ways to improve your angle, distance, timing, striking locations, and technique progression in order to enhance what’s already been built. This style of study leads to an understanding of tichiki, or “what the hand is doing”, which can be used extemporaneously with great percentage of success”.

By Matthew Apsokardu

Dis-Mounting An Attacker

Should you be unfortunate enough to be taken to the ground and end up with some gormless thug on top of you trying to bludgeon the living daylights out of you, we look at some ways of getting them off (so that you can bludgeon them – much more fun).

Keith’s favourite is flesh grabs which is used quite a lot in some styles of Kung Fu.  The nasty ones 🙂

We are not taking about grabbing large lumps of muscle or limbs, just a handful of surface skin, which can be surprisingly painful.  I know that some people will prefer pressure points.  My only concern with that is that you really have to know what you are doing.  If you are interested in pressure points, then you should look the work of somebody like Russell Stutely.

Pressure points are probably better if you really know what you are doing, but if you don’t then flesh grabs are much easier and much more accessible to the average martial artist and still hurt the opponent (though be aware that if they are high or drunk they won’t feel it quite so much).

From a Karate perspective, show how you can use the good old Gedan Barai (lower sweep/block) to dis-mount your attacker.

Bunkai