We so often hear that martial arts are good for our health and well-being, but is this always the truth? I would say in the main . . . . yes.
However I do feel that there are exceptions. All to often you hear of the more mature warriors amongst us having hip or knee operations. Many (who are not professional teachers) have to give up training all together. So if martial arts are a lifetime study (as is often said) how come the people who are left training over the age of 50 is such a small percentage.
Funakoshi, who introduced Karate from Okinawa to Japan, said in his latter years that the Karate being trained at that time in Japan was very different to the Karate of his youth.
The Karate that Funakoshi would have learnt in his youth in Okinawa would have had a very strong emphasis on combat effectiveness. It also had a strong emphasis on health. Many masters were originally introduced to Karate training in their childhood because they were sickly children and Karate was seen as one of the best ways to improve their health.
So what happened to Karate after Funakoshi introduced it to Japan in the 1920’s?
At that time, having relatively recently been forcibly dragged out of centuries of isolation, Japan was modernising very fast. As such the Japanese saw the modern weapons imported from the West as the way to go and saw the old martial arts as obsolete except for physical and character development. Furthermore, Japan’s militaristic character at that time, especially during the build up for the war, meant more emphasis on toughening up and strengthening up quickly, rather than looking to the longer term health. Physically gruelling training was good for the spirit!
Emphasis on real combat was not really necessary in traditional martial arts as Japan was far more focused on how to use the newly found power of guns, warplanes and battleships. The subtleties of Okinawan karate would be dumbed down to make it more acceptable to Japanese popular ideas of the time. A more physical emphasis was required. Dumbing down also made it easier to teach to large classes.
Funakoshi focused on teaching in Universities which meant introducing Karate to the higher strata of Japanese society (hence more respectability for Karate). It also meant that as Karate was now being taught to relatively large numbers and as students left University and moved on, they did not form the deep relationship that the Funakoshi and his peers would have formed with their masters, so the transfer of knowledge would not have been quite so deep.
Unfortunately many of Funakoshi’s top students lost their lives during the war. By the end of the war, Funakoshi was in his late 70’s and although still training himself, was getting a bit old for regular teaching, so to a certain extent the surviving students had to work it out for themselves.
Furthermore the occupying American’s banned martial arts training. During the war, the Japanese had displayed a ferocious fighting spirit which for obvious reasons the Allies wanted to curb. The Japanese had to make a case that Karate was not a real martial art, but more a way for self development. As such, they got permission to train. However, traditional weapons like the Bo, Tonfa, Sai etc were dropped from the syllabus as the Japanese realised that they would really be pushing their luck to ask permission to train weapons (of any kind) as well. Karate was dumbed down even further.
With Funakoshi’s influence diminishing and most of his most knowledgeable students gone, Shotokan began to evolve (or devolve depending on how you look at it) into a forceful system with a heavy emphasis on the physical side. This led in part to the stances becoming longer and deeper placing more stress on the lower body joints. If you look at any photo’s of Funakoshi demonstrating technique, he is always in a fairly high stance. Shotokan was mainly derived from Okinawan Shorin Ryu (created by Yasutsune Itosu). If you go to Youtube and search for “Shorin Ryu kata”, you’ll see that most of their movements are done in a higher stance than modern Shotokan.
Just compare the Shorin Ryu and Shotokan versions of the same kata below:-
A large group wanted to hold competitions which Funakoshi vehemently opposed. However, after Funakoshi passed away in 1957, the movement to introduce competition went full throttle ahead and the first All Japan Championships were held that year. Again the emphasis on being fit, strong and athletic grew with the short term goal of winning competitions rather than longer term goal of life long health.
Okinawan Karate was would have expected most fights to be at relatively close range (which is how most real fights are) so it would have geared its techniques that way. But the new competition fighting where neither fighter was allowed to grab their opponent necessitated a longer range of fighting. This in turn necessitated being able to take long steps, to cover relatively large distances. This again creates more stress on our bodies and joints as we get older and was absent from the original Okinawan Karate.
High kicks (which had barely existed in Okinawan Karate) become much more common place, putting even more stresses on the body (especially hips and knees). Again if you watch Shorin Ryu kata on Youtube, you’ll see less emphasis on kicks. Furthermore, you won’t find Side Snap Kicks anywhere. In Shotokan kata where we use a Side Snap Kick, Shorin Ryu uses a Front Kick). Not only that, but the Shorin Ryu Front Kick is usually no more than groin height.
Side Snap Kick is one of the most difficult kicks of all for people who have hip and knee problems. It is also not nearly as practical as a Front Kick in most real combat situations. So why did Side Snap Kick replace the Front Kick in so many Shotokan katas and why did it end up usually being done at head height rather than groin height?
Well at that time, the Japanese had very little understanding of bunkai (fighting applications of the kata). Not only that, most of them were not really interested either. Kata competition was becoming very popular too and that was the driving force. Kata had to look good. The head height Side Snap Kick looked much better than the mid level Front Kick. Many techniques performed in Neko Ashi Dachi (Cat Stance) in the Shorin Ryu kata were changed to a much longer deeper Kokutsu Dachi (Back Stance) in Shotokan kata.
Much of this has improved over the years and many branches of Shotokan has change quite radically even in the time that I’ve been training. When I first started, we had to keep the back leg straight when performing any technique in Forward Stance. This put pressure on the lower back and hips. Now the back leg is slightly bent, relieving the pressure. This and many other modifications have greatly improved the way that we train today. In many ways many schools of Shotokan have become much “softer” in their training (and I softer as in how technique is performed, not as in “taking it easy”). However, many still train the old way and many styles (Japanese & Korean) which are derived from Shotokan still bear some of those old hallmarks.
Training can be great for health, but if you are not careful, it can be damaging to your body, especially hips, knees and lower back.
One of the most popular and most frequently visited postings that I’ve ever done on this website has been an unbiased look at the differences between Karate and Tae Kwon Do. So I thought I’d do the same between Karate and Kung Fu.
As with Karate and Tae Kwon Do, I believe that there is often a lot of misunderstanding between Karate and Kung Fu practitioners as they don’t really understand what the other one is doing or why! That said, there are many people who cross train between the 2 styles, in particular Karateka who train in Kung Fu to better understand the roots of the their own system.
This post is not aimed at arguing that either martial art is better than the other, as I have always maintained, there is no “best style” only a “best style for a given individual”.
But to tackle a question like this is a massive subject as there are hundreds of styles of Karate and thousands of styles of Kung Fu; so I am going to have to lay down some parameters before I start.
Firstly from the Karate perspective; most modern styles trace back to the two Okinawan styles of Naha Te and Shuri Te. There is arguably also Tomari Te, but that is really a branch of Shuri Te. To confuse the issue further, many modern styles are also a hybrid of the two (like Shitoryu).
Naha Te (which later became Goju Ryu) was almost completely based on White Crane and Praying Mantis Kung Fu, whilst Shuri Te was quite extensively modified by the Okinawans. So for the purpose of this posting, I’ll be looking at the Karate styles from the Shuri Te/Shotokan lineage. Ironically, much of this will apply to Tae Kwon Do as well, despite significant development by the Koreans.
Kung Fu is even more difficult due to it’s huge variety. So for the purpose of this posting, I’ll be looking at the traditional Shaolin styles of Kung Fu (rather than modern Wu Shu, Wing Chun or the Daoist based internal arts).
Usually one of the first things that people say when comparing Karate and Kung Fu is that Karate is more linear and that Kung Fu is more circular. But what does that actually mean in application?
If you look at a Karate reverse punch, the hips are rotated, yet the arm goes out straight; so there is a combination of circular and linear movements within the same technique. Many (if not most) Karate techniques are powered by a hip rotation, so does that make them partly circular. Furthermore, although Kung Fu tends to have more techniques where the arms attack in a circular fashion, they also have a lot of techniques that come out straight forward, so are they linear?
Basically, what defines a linear or circular technique is not just whether the body rotates or not, or even if the attacking hand/foot moves in a straight or circular motion. It is how the technique is powered. A linear technique is powered by the forward inertia and momentum of the body, whilst circular technique is powered by the centrifugal force created by a rapid rotation which does not necessarily move the body forward.
You can see this more clearly in the 2 videos below. In the first one you see a Karate reverse punch. The hips rotate from being pulled back approximately 45 degrees to being rotated square to the front. But overall the body weight moves forward in the direction of the punch.
In this Kung Fu example, you’ll see that the hips are rotated much further, so much so that the stance is facing at 90 degree’s to the direction of the punch and opponent. When he performs the second punch, his hips rotate almost 180 degrees around to face the other direction (compared with Karate’s 45 degree hip rotation). This obviously creates more centrifugal force. The technique will vary from style to style, but it does demonstrate the general principle. However, it does not create any forward momentum towards the opponent.
Again, I do not suggest that either method is superior to the other, they are just 2 modified ways of achieving the same result, which is putting down some b*****d who seriously deserves it. It should also be made clear that Karate and Kung Fu both contain linear techniques and they both contain circular techniques. It is just that Karate puts more emphasis on linear whilst Kung Fu puts more emphasis on circular.
With a circular system, to a certain extent you are letting the other guy bring the fight to you. That may not have been an option for the Shuri bodyguards, but for us today who should only be interested in self defence, it is fine. You can still take the initiative and give a pre-emptive strike if somebody comes too close (which an aggressor will do) but you don’t need to take the fight to him.
Circular technique is better for grappling, spinning very fast when you have hold of somebody is a good way to of-balance or throw them. It also helps to apply locks to any trapped limbs very quickly.
Linear technique is less versatile in application, but was designed for very much with multiple assailants in mind where running away was not an option (as in bodyguards). For this they needed to take the fight to the opponent, put him down very quickly, then move onto the next. I believe that this is where the Japanese maxim of Ikken Hissatsu (one strike, one kill) comes from. Grappling techniques are too slow when you’re outnumbered, so that versatility was not required. This is covered in a bit more depth in my free video course on How To Become Good At Bunkai.
Many of the Shaolin styles are based on animal movements such as Tiger, Snake, Monkey, Praying Mantis, Crane and many others (even mythical creatures such as the Dragon). Although these styles imitate animal movements, they are still very effective in application. Drawing from the movements of mammals, birds, reptiles and even insects has led to a great deal of innovation and inspiration, not only in fighting techniques, but in the principles adopted (for example, power from the Tiger, but flexibility from the Snake).
Karate however has been more influenced by the Zen philosophy which is (or was) very popular in Japan. Part of Zen is to minimize everything, which has also been applied to the movements in martial arts. Only the movements strictly required for a technique are included, all else is striped out giving it a much plainer appearance in many ways. This also fits in with the linear concept of less emphasis on grappling and versatility, but focusing more on multiple opponents instead.
Of course this is a very broad subject as already mentioned and there is a lot of overlap between Karate and Kung Fu, so this posting can only be a guide rather than a definitive in every case and every application. As such there will be plenty of exceptions, so any writing on this subject (by me or anybody else) should only be regarded as a generalised guide.
If you have found this useful, or if you have anything to add to the subject, then please leave your comments below.
Karate Depot have asked me to review a makiwara (striking board) for them. But first, I would like to talk about what makawara training is actually trying to achieve as it not quite what most people imagine.
Personally, I like makawara’s. Some people argue that as they have so little give in them, your punch/strike has to stop after impact, rather than going all the way through the target – as you might do in a real combat situation. Therefore (it is argued) you are training yourself to “stop short”.
I personally believe that if you can slam your fist very hard into a target that barely gives and not damage or hurt yourself, then you have no fear of whatever you hit at all. You also develop so much impact that you don’t have to punch too deep to do damage. Besides you can practice punching/stiking deep on other pieces of equipment, that is not what the makawara is all about.
Some also argue that it is a stationary target and therefore less functional than focus mitts which obviously can move about. I’ll come back to this point shortly.
Although many see the makawawa as a method to harden hands, especially knuckles, Gichin Funakoshi says that the main point of using a makawawa is to learn correct alignment of the body when striking. Harding knuckles etc is secondary. Delivery of a good technique (be-it Karate or any other style) depends heavily on correct alignment of the body’s skeletal system. This in turn should allows you to become more and more relaxed in your technique as you advance through the grades.
How does correct skeletal alignment enable you to become more relaxed and why is this useful?
Firstly, correct bone/joint alignment absorbs the reaction created by the impact of your strike, transfers it to the ground, and then effectively bounces it back into the target again. With incorrect alignment, that part of the body will collapse and absorb much of this “impact reaction”.
This is the single most important function of the makawara, to weed out the bodies incorrect alignments and correct them.
This is best done with a training device that has little give in it (like a makawara). Focus mitts are better for accuracy training and for training reactions to a moving target, but they do not offer enough resistance to allow you to weed your incorrect alignments within your body. Neither training device (makawara or focus mitts) are superior to the other, they simply serve different functions.
As low grades, we can use a lot muscular strength to support our skeletal structure and stop it collapsing if there is any weakness (in the form of miss-alignments). However, as we progress, the alignment of the skeletal structure improves and can absorb the “impact reaction” with less support from the muscles. As we need less & less muscular support we can become much more relaxed. This in turn enables us to move faster, conserve energy and actually do more damage with less effort!
This really is one of the biggest keys to combat side of martial arts.
This is why Tai Chi is considered an advanced martial art. It is something that martial artists progress to, after a “harder” style has already taught them good skeletal structure. It is not a martial art to start with (unless you are only interested in health and well being, which is of course perfectly acceptable).
The slow relaxed movements of Tai Chi are partly to teach you to use your ki/chi (internal energy) which is of course a controversial subject that not everybody will agree on. However, on a more scientific level, the slow deliberate moves of Tai Chi do teach good skeletal alignment and good posture. Doing movements slowly without correct alignment and posture, you will be more likely to loose your balance than if you do it fast.
Tai Chi is therefore (on some levels at least), a continuation of the learning alignment and posture that starts with the makawara, but taken to a much higher level. I personally think that Tai Chi is much more than this, but this one aspect of it.
Anyway, this brings us back to the makawara and hopefully you’ll have a better idea of its deeper purpose and benefits now. The makawawa was traditionally a bail of straw, tied to a post set solidly into the ground. This is not aways practical today. However, you can get wall mounted versions like the Deluxe Makawara Board which I’ve been asked to review.
I found it very good. It can take a lot of punishment and is hard wearing. It’s also quite convenient as you put it up almost anywhere that you have a solid wall. As it can’t flex (like the traditional wooden post), it has a little bit of give in from the hard foam under the canvas cover. This foam does eventually get a little bit compressed from continuous blows, so I would suggest trying to strike different parts rather than just hitting the centre each time. This particular makawara is a bit larger than most others, so it does allow you to move your point of impact around about a bit. A good addition to any traditional martial artists training regime.
Note: For non-Japanese stylists, Shihan means a master level instructor, (above an ordinary Sensei).
This is one master that I particularly hold in very high respect for 2 main reasons. Firstly is that through his book Shotokan Myths, he seeks to give us (mainly in the West) the real truths behind much of the mysticism and mis-information that has built up over the years for social, political and even commercial reasons. The honesty and directness is very refreshing.
Secondly is that he truly understands the difference between Western and Eastern thinking and applies it (rather than expecting others to meld to his way).
I hope I don’t offend anybody here, but most of my previous experience of Japanese Karate masters was that some of them would even pretend that they could not speak English properly when you know full well they can. This was so that they did not have to teach you very much.
When I took my early gradings in the late 70’s early 80’s under the late and charismatic Ray Fuller, we would all come out from his classes thinking “wow, isn’t Karate great” and being really inspired to learn it all. When I moved to Scotland and gradings were conducted by 2 senior Japanese masters, my class mates come out saying “isn’t the wee man great”. I was thinking to myself, yes he is technically brilliant, but I’ve learnt very little. There’s a stark difference.
This is why after several emails between Shihan Kokota and myself, I was blown away when this Japanese 8th Dan suggested that we have a chat on Skype and that I don’t need to be so formal with him.
I don’t think Shihan Yokata will mind me sharing this with you, but in one of his emails to me on the subject of being a master, he said “I am only 64 so I am still too young to hold that title. I will wait till I am 70 or even 80 and see if I feel old enough to be a master”. For a man who’s trained in martial arts for over 50 years, compare that to the many much younger martial artists who readily use the title Grand-Master!
Anyway, on to the interview. I thoroughly enjoyed reading Shihan Yokota’s answers and I hope you do to.
CW: Please tell us how old you were when you first started your martial arts training, how you started and what led you to focusing on Shotokan Karate in particular?
KY: My father was a Kodokan judo practitioner so I wanted to practice judo as soon as I was in junior high school. I joined a club at the local police station where the policemen taught the classes and I was 13 at that time. I was an energetic child so I loved the rigorous training of judo and practiced it very diligently. After a year or two later a new student joined. He was a short and small guy so I threw him easily. He liked to be thrown but he was different. If you are familiar with judo, a person who gets thrown would do ukemi (breaking the fall with slapping an arm on to the floor) and stays down for a short moment. That was what I expected from the new student but he jumped up like a bouncing ball every time I threw him. As he was a small boy and was light it looked very natural. I did not think too much about it. As he was a cheerful fellow I got to like him and we became sort of friends after several months of training. One day after the training, we walked to the bus station together. I asked this boy (maybe he was 16 or 17) why he would jump up after a throw. He surprised me with his answer. He said he is a karate practitioner and he wanted to learn judo to improve his karate. I knew the word of karate and have seen a demonstration or two but I had no idea about karate. I still believed judo was the most lethal method of martial arts so I asked him if he would switch to judo. He said no way as karate was the meanest system of fighting. I could not believe his words. I told him that I could throw him on the hard road and hurt him. He told me that he could disable me before I had a chance to throw him. I thought he could not punch me if I grabbed his arms very quickly. So, the next day, I asked him to show me how he would disable me as I grabbed both of his arms so he could not move them at will. He smiled and without moving his arms he kicked me in groin. I know he only tapped me but I had to let the arms go as I crumbled to the ground for a few seconds. I saw the sparkles in the eyes and I knew he could kill me. He apologized and helped me up. After this event, he stayed with us for a few more months but he went back to his karate training. During that time I asked him to teach me karate but he said he was not an instructor and he could not teach. So, I waited till I get my shodan in judo before I made my switch. I had to do this to show to my father that I was serious in training in judo.
I was 16 when I switched to karate. I did not know that there are many different styles in karate so I did not ask that boy which style he was. I thought karate was only karate. I wanted to dive in karate in full so I decided to train every day. I joined a karate club at a local YMCA (Kobe is my home town) but they practiced only on Mondays, Wednesdays and Fridays. So, I went to another YMCA in Osaka (a big city about 50km from Kobe) as they trained on Tuesdays, Thursdays and Saturdays. One thing I did not know or realize was Kobe YMCA club was Shotokan (JKA) and Osaka club was Gojuryu (with Gogen “Cat” Yamaguchi). I trained at those two clubs for one year before I quit Gojuryu. It is a long story how this happened but I will keep this story to another occasion. I stayed at Kobe YMCA club for 3 years and practiced Shotokan under Kashimoto sensei. Sugano sensei was his teacher and he came to see the training once in a while. I remember this clearly as I was scared of him. When I rejoined his dojo about 15 years later he was not as scary as I thought but for a high school boy Sugano surely had a scary face. Many new students quit but I stayed and I got my shodan when I was 18 (1965).
CW: Sounds like a painful introduction to Karate! What kind of a man was Master Jun Sugano and what was his main strengths in Karate?
KY: He was independently wealthy so he did not need to earn money from Karate which I liked very much. He did not care whether you join his dojo or leave. He liked the traditional hard training and he liked to push you to your limit.
He was a large man for Japanese. He was close to 180cm tall and weighed nearly 100kg. He was strong like a bear. We were all afraid of his punch when he uses you as his opponent in a demonstration.
CW: Later you trained with Master Tetsuhiko Asai, 10th Dan and founder of the JKS. What made you change over to training with him? What kind of a man was he and what unique things did he bring into his Karate teaching?
KY: When I hit the age of 50 and Godan in JKA, I felt I reached a plateau. I felt I could not learn anything new to develop my karate and I was very discouraged with my karate. This is when I was reconnected with Asai sensei. He came to California for a seminar. Of course, I have known him from 80’s and have seen his demonstrations at All Japan National Championship in Tokyo when I participated in 1981 and 1982. I knew his karate was great and different. I saw my answer in his karate. He was in his late 60’s and he was flexible and his moves were sharp and dynamic. I said to myself this is the way I want to look in my 60’s and 70’s. I decided to follow his path in 2003 when I resigned from ISKF (JKA then).
You must experience his karate to fully appreciate Asai ryu karate. The movements are freer or less restrictive. There are more complex foot work with a lot of spins and rotations in many different ways and directions. Many combat effective techniques such as finger thrust, enpi, teisho, etc. are used and practiced. Your body is required to be flexible and that is not limited to the hip joints but all joints including back bones. The flexibility of the muscles is critical so that your moves will be fluid like a cat or a tiger. The body movements follow the nature of water (fluidity) and they are performed with the strong foundation of the legs. This is why we include the exercises like one leg squats and other squatting involved workouts. Your body needs to be like a whip when your arm and leg techniques are executed. There are too many unique things and I cannot list all of them here.
CW: He sounds a very interesting man. I understand that Master Asai also trained in White Crane Kung Fu, which had quite an influence on his Karate (which you describe above). When Funakoshi first introduced Karate to Japan, he tried to hide some of the Chinese influences on the art. How was Master’s Asai’s Chinese influences accepted by the Japanese Karate community? And how did the Twainese accept Master Asai teaching Karate in their country when they have so many of their own martial arts?
KY: This is an excellent question and I can write a book on this. Let me explain something about your statement, “When Funakoshi first introduced Karate to Japan, he tried to hide some of the Chinese influences on the art.” There were two major reasons for his action. One is he wanted to brand Karate as an Okinawa grown martial art which is true despite there was an influence from the Chinese martial arts. The second reason was the period when he introduced karate to Japan. The first public demonstration Funakoshi did in Tokyo was 1922 and that was exactly when Japan was in a war against China. It was wise for him to de-emphasize anything that may be related to China and Chinese culture.
Back to your question about Asai sensei’s karate, unfortunately, he was regarded as unique to be nice or an odd ball by some of the JKA instructors. I do not think his ability (Nakayama claimed he was the best karate-ka JKA has ever produced) was not truly appreciated or received the credit it deserved. After passing of Nakayama in 1987, Master Asai tried to change the syllabus of JKA and that caused so much up roar the organization split in 1990.
Regarding the second part of your question, how did Taiwanese accepted his karate, I cannot tell you too much as my exposure to the Taiwanese on this matter is limited. I have spoken to Mrs. Asai who was a Taiwanese origin and I also have met a few JKS members from Taiwan. They all told me that Asai karate is different from JKA and also kung fu (white crane style). I support this idea and it is true that JKS had the affiliates not only in Taiwan but also in Hong Kong and some other Chinese cities. If Asai karate is not good enough or too similar to the kung fu style then his karate would have not received this much of support by the Chinese people.
CW: What other martial arts besides Shotokan Karate have you studied along the way and how have they affected your development as a martial artist?
KY: I already mentioned that I took Judo for 3 years. With karate, I took one year of Goju ryu when I initially started karate training. The period was so short so fortunately or unfortunately, I do not have any effective influence from this experience.
In 1981, I also took Kyokushinkai training for one year. I wanted to learn the full contact karate to expand my kumite experience and ability. It definitely had some positive influence and learned several very important facts about kumite. I can write a book on this too but I will stop with only one comment. I suggest all the Shotokan practitioners who are into competitions or tournaments to experience full contact karate. Then they realize that the sports karate kumite is not a martial art activity.
I also took a Ki training for over two years at Nishino dojo in Tokyo (1998 and 1999). Even though I do not feel that my ki became stronger I can tell that ki exercise made my body more flexible and elastic.
CW: What about weapons? Which weapons have you studied and how relevant are traditional weapons to the modern Karateka?
KY: I practiced kobudo including nunchaku, tonfa, sai, three sectional stick and 9 chain whip. I find nunchaku and chain whip are the best supplement to karate training especially in developing the circular motions with your arms. The weapons are the extension of your body so it is good for all the advanced practitioners to select at least one weapon and include that to the regular training.
CW: Karate has many elements to it. Do you have any particular favorite element? If so, what is it and why?
KY: There are five major elements in karate;
1. Stretch and exercise 2. Kihon 3. Kata 4. Kumite 5. Bunkai They are like five fingers in your hand. They have different functions but yet all of them are necessary to do the coordinated work of karate. I like them all in their own ways. What I love is the art of karate as a whole.
CW: In your younger days you had a very successful competition career, could you tell us a little about that please?
KY: I have had some years of tournament days when I was younger but I cannot say it was a very successful competition career. Maybe my highlight is the participation of All Japan Championship (JKA) in 1981 and 1982. I was lucky to be a state champion of Hyogo prefecture in those years. I was also a representative of Hyogo prefecture in National Athletic Tournament (Japan’s local Olympic game) called Okutai (short for Kokumin Taiku Taikai) in 1981 which was the WUKO event when JKA joined as one of the karate organizations for the first time. One funny story I can tell you is a little story when I checked the roster of the karate participants in Okutai. It listed all the participants from 47 prefectures of Japan and it showed the styles (Shotokan, Gojuryu, Shitoryu and Wadoryu), dan rank and age. I was 35 years old then and I knew I was one of the most senior participants as most of them are in their 20s and a few were even in their high teens. I was going from one page to another not finding anyone in their 30’s. I finally came across a guy who was either 33 or 34. So I said to myself “Yes there is another senior guy who is willing to mingle with those young guns.” I wanted to find out if he was in kumite or in kata. I flipped the pages to find him but he was not in the competitors list. So I thought “Maybe he is one of those back up guys.” But when I got to the last page where they showed the names of the coaches he was there. So I realized that I was older than this coach and I was the oldest competitor in that big event. I retired after this tournament.
CW: I have read a number of interviews and articles on how most Karate in Japan has become almost obsessed with competition results as a way of measuring a clubs success. Do you feel that this is a fair criticism?
KY: I am afraid the competitions and tournaments are very popular and play a very important role in many dojo and organizations. It is true that a karate magazine may use the competition results to measure a club’s success especially among high school and university clubs. However, many instructors know the difference between the tournament karate and martial arts karate. They do not use the competition results to measure the level of a regular dojo. At least that is what I see with the instructors in my home town, Kobe.
CW: That’s good. We’ve also previously discussed how the levels of violent crime in Japan are so low that even in Tokyo young ladies feel quite safe walking home alone late at night (something that would be considered madness in many Western cities). As such most Japanese people do not see any real need for self defense. Although this is a fantastic achievement for the Japanese people, which many in the West would like to emulate, how has it affected the Japanese perspective on making (or keeping) their martial arts practical and functional?
KY: It is true that Japan is one of the safest countries in the world. So, the people do not pick up karate or any martial art for a self-defense purpose. They choose to practice one of them for other purposes or objectives. I believe the lack of this need for self-defense was one of the reasons why bunkai was not seriously studied in Japan. I am also afraid that Samurai spirit is almost extinct in Japan.
CW: That’s quite sad to hear you say that. During World War II the rest of the world could not help but admire and respect the fierce fighting spirit and sacrifice of the Japanese servicemen. Japan has also been very influential in spreading so many fine martial arts to the rest of the world. I was therefore quite surprised the first time you told me how you feel about the Japanese fighting spirit today. Would you please elaborate on those views for the readers?
KY: When Japan lost in WWII, it was our first total defeat in any international wars. It is sad to admit but it is true that the Japanese lost both the patriotism and samurai spirit. The entire nation went to commercialism and the core value has changed dramatically from honor to money. Some good part of the old culture did survive, however. In Japan, we see more respect to the others as well as the rules and the laws. For instance, at a red traffic light a pedestrian would stop and wait until it turns to green even if it is 2am and there is no traffic in the street. This is why it is very safe not only in the small towns but also in any of the big cities in Japan. However, the general population lost some important values such as honor and principle. Along with it, we lost the fighting spirit to uphold those values. The occupation army (mostly the US military) after the WWII did a good job as they planned to change the social structure and education in Japan so that it can never be a threat to the US or other allied countries. It was a cunning strategy but the Japanese must not blame the US for its policy as they did the similar treatment to Germany but the Germans recognized the consequences if they followed blindly. The Japanese were too naive as they had never lost in a major war and the leaders were not prepared for this kind of policy and to bring the Japanese population back to the old culture with honor and self-respect.
CW: That’s a shame. You have also told me how you have found many of the bunkai explanations given to various kata movements in mainstream Shotokan to be quite unrealistic. We discussed in particular the double Uchi Uke “blocks” near the beginning of Bassai Dai which is simply not realistic when used literally as 2 blocks and could only conceivably work with a compliant attacker. When did you first start to doubt the explanations that you were being given for these bunkai and how do you think they came about?
KY: My sensei, Master Sugano, told us at one of the casual meetings we had after training that we should not be fooled with the names of the techniques that are used in kata. He also told us that kata do not always start and end with a block as it is publicly announced by many organizations including JKA. He told us that most of those techniques are attacking techniques. He further explained that there is no one application or bunkai to any of the techniques. He said the fighting situation has millions of variations thus a technique must be any solution that works in a particular situation. He told us that our mind must not be ridged but fluid and open so we can be prepared for any situations.
First of all, bunkai is not popular or common in Japanese dojo. The main reason is, believe it or not, JKA headquarters at its foundation chose to drop bunkai from its main syllabus so that the sufficient knowledge was not handed down from Funakoshi. At JKA headquarters in 50’s and 60’s, a standard training menu was only kihon, kumite and kata. Any of the bunkai training was almost completely ignored. Along with bunaki, another major component, kobudo, was dropped from the menu. Now I am talking about the general trend. There were a few instructors and dojo like Master Asai and Master Sugano who considered bunkai and kobudo as the important aspects of karate and believed they must be studied along with other elements.
CW: It seems then that you were very fortunate in your teachers. How did you go about finding more realistic applications for yourself?
KY: Sugano sensei used to tell us, “Do not get stuck on one application. The actual applications are limitless. The techniques must be free and natural”. I could not quite understand what he meant when I heard it more than 30 years ago but now I am beginning to understand it. As you practice all the different techniques in many kata and if you keep your mind free, the applications can be “felt”. One technique can be very neutral so to speak. In other words, I can feel that a technique can be a block but at the same time it can be a strike. A good example is the very first move of Bassai Dai. In the end, any applications can be correct if it serves the purpose of the situation. So, I do not look for, or I’d better say I do not need to look for more “realistic” applications any more.
CW: A number of Westerners have made big names for themselves in the field of applied Karate and practical bunkai geared for street self defense. How do you feel about their work and do you feel that they are on the right track or not?
KY: I believe there was a huge contribution by those practitioners and exposing there are other applications and bunkai. They tried to bring karate back to an art of self-defense so I give a credit for that. However, one thing we must not forget is that the number of applications is limitless and any of them are “correct” so it is almost impossible to list all of them. What you as a martial art karate practitioner must do is to learn the concept and the principle then apply them according to the situations that can be limitless. It is almost like Mathematics. There are limitless numbers and what we need to learn is the concepts of addition, subtraction, multiplication, division, etc. We all know that we cannot remember all the combinations of numbers which is unlimited. What is interesting with karate is it is somewhat different from Mathematics. In Mathematics 1 plus 1 is always 2, in karate it can be different numbers such as zero or three, for example, and those answers are all correct if they meet the principle of karate.
CW: Point taken. For many people, Karate is mainly about self defense. To others it is more about self developments. What are your feelings on this? Do you feel that either aspect takes precedence over the other, or are they both equally important?
KY: Those two aspects of karate must compliment each other thus they are equally important. I am afraid many practitioners put emphasis only on the physical part (self-defense or tournament) of karate. In fact, karate is the most primitive and less effective weapon when compared to a stick, a knife or a gun. How good is karate if it only creates a karate expert who has no respect and honor? What would be the difference between that to a gang who has a knife or a gun?
CW: Having been based in America for many years and teaching all around the world, how would you describe the attitude to training and the fighting spirit in the West?
KY: I found the practitioners in the countries I have visited (not only Europe but also in Latin America) have an excellent attitude in general. I cannot say which country has better or worse attitude because I found very serious and less serious practitioners in all countries.
CW: That’s good. You are also noted for the work you’ve done in uncovering myths within Karate (particularly Shotokan). In a culture noted for not questioning the official line, did this get you into trouble in younger days, or did you develop strategies for getting to the truth without rocking the boat too much?
(Note: I remember you saying that you sometimes had to wait until your master had taken a few drinks)!!
KY: In my younger days I did not ask questions as I followed our culture. The questions and doubts blew in me and I always investigated on my own mainly through the publications in Japanese. When I got older I had more chances to ask questions to Master Sugano and Asai. Yes, it was much easier to ask the questions in a non-training environment in a restaurant or a bar. I held my opinions and thoughts to the masters as I did not want to offend them or their organizations. I came out of the hiding only 3 years ago after the passing of both masters.
CW: I’m sure that many of us are very grateful that you have finally come out of hiding. You have also expressed concern with me previously that Karate “will end up in a museum some day”. Would you elaborate please and explain these concerns?
KY: Let’s look at the other martial arts that have become museum pieces. One is kyudo (Japanese archery). They judge the practitioner’s skill by their posture and the body movement only. It does not matter if their arows hit a target’s center or miss it by many meters. The original archery’s biggest purpose was, needless to say, to hit an opponent with an arrow. Now kyudo forgot the original (and true) purpose of shooting an arrow. Therefore, it cannot be classified as a budo (martial art) any longer. If an art loses the true purpose as a martial art then I consider it a museum piece. I definitely consider kendo and judo are definitely in that category. I am afraid jujitsu and iai-do are on the verge of joining the museum classification. Karate with the increase of sport karate is showing the same trend. Even if some of us would try to keep the martial art aspect of karate alive, we will no longer be the mainstream and our style of karate may be classified as a forgotten karate or a museum piece.
CW: I see what you mean. What are you personally trying to do to stop this from happening? Was this one of the main reasons why you wrote your recently released book, “Shotokan Myths”?
KY: You are correct. The main reason to publish my book was to expose and shed more light to the martial art aspect of Shotokan karate. The book was translated in German now and a company in Germany will publish it in the near future. I plan to have it translated in Spanish also. In addition, I plan to write more articles around the same theme and publish them in various magazines and publications. This interview is also contributing to my effort and I am thankful for the opportunity to express my thoughts and beliefs.
CW: You’re more than welcome.
KY: I also accept invitations from any organizations or styles for a seminar so that I can share the concepts and training style that are related to the martial art aspect of karate-do. I have been testing my training menu all around the world and hoping that the participants would find the unique value of Asai ryu karate. So far I feel I have been very successful and the feedback has been very positive.
CW: I’m very glad to hear that. Can you give us a couple of simple examples of some of the myths you expose?
KY: Here are a few: · Kata do not necessarily start and end with a blocking technique as it is commonly believed. · There was no ki-ai routine (at least audible ones) in any of the original Okinawan kata before 20th century · In the original kata you were not required to return to the exact spot where you start your kata · Many techniques in kata are named with blocking techniques such as shuto uke, uchi uke, age uke, etc but the true applications are “hidden” behind those names and they are most likely attacking techniques.
CW: Interesting! Who is this book primarily aimed at and how exactly do you think it will help them?
KY: This book is primarily aimed for the advanced (dan belts) students who have been practicing karate for at least several years. However, the information in it is useful for the intermediate as well as the instructors as the subjects are very general and well known among all the Shotokan dojo.
CW: Many styles have been spawned or influenced by Shotokan. Therefore, although your book is called “Shotokan Myths”, do you think that it is relevant to people of other styles as well?
KY: I used Shotokan in the title because that is the only style I am familiar with. But this does not mean the subjects I covered are limited to Shotokan. Many subjects such as ki-ai, coming back to the same spot in kata, etc are common subjects as they stem from the same karate history regardless of the styles. I am sure Shito ryu, Goju ryu and Wado ryu practitioners can relate to the topics and learn something from this book.
CW: How well is the book doing and what kind of feedback are you getting from your readers?
KY: I only have the record of how many books were sold during the first 3 or 4 months, but we sold at least 2-3 hundred copies so I am very happy for the very positive reception of the book at the initial stage. It has been only 6 to 7 months since the initial publication so I will know how more on how well it will do as more time goes on.
The feedback I have received so far has been very positive. They agreed with my opinions and showed appreciation to bring the subjects out in public. Many have said they wondered about those points but they did not bring them out in the open as they assumed those points are not to be discussed or what they heard was the fact and not to be challenged.
CW: I’m glad to hear that it’s doing well. It should really pick up when the German and Spanish translations are completed. Have any of your Japanese peers objected to you writing this book and revealing what they would not?
KY: I knew they would object and advise me not to do this so I did not contact any of the Japanese peers about this project. I am also hoping that they do not read the books in English so they will never find out.
CW: Well we in the West are very glad that you have. What do you think the average Karateka can do to keep his/her training relevant for today’s world and to stop Shotokan from ending up “in the museum some day?
KY: Karate has many venues such as self defense, sports, health, discipline, confidence building, etc. All purposes are fine and we must not judge one purpose is better or worse than the other ones. The tournament karate seems to be becoming the main stream and majority in many countries. I wish to see more practitioners for the martial art karate and balance the scale. I wish to see the preservation of the original karate techniques by more practitioners.
CW: Understood and I hope that through your book and interviews like this, you are able to persuade more Karateka to do so. What are your future plans? Will you be writing any more books? Will you be travelling and teaching very much?
KY: I have many ideas about the next book. The only problem I have is time or lack of it. I cannot promise how soon the next one will be out or on what subject but it will be out as soon as I complete the content.
As far as the seminars are concerned, I am booked solid this year and have received many invitations for the next year. If the readers are interested in my seminars, the details can be found on the website of WJKA (www.wjka.org). All my seminars are open course, so, everyone is welcome. It does not matter from which organizations and styles you are from (as long as you pay the fees).
CW: Shihan Yokota, on behalf of myself and my readers, I would like to thank you for a very interesting and informative interview. It’s been an honour.
As mentioned by Shihan Yokota, he is interested writing more books. As such he is very interested in receiving feedback to answers above and about his first book if you’ve read it. Please leave your comments below. In particular if you would like to know more about any of the subjects that Shihan has touched on, then please tell him.
“Many martial arts include meditation of some sort. Does this help us in combat? Or is is just part of being a better person?”
As I have a lot a high grade and intelligent martial artists on that page, I got quite a bit of intelligent feedback as I expected. However, I personally think it goes a little bit deeper than most people give it credit for; both for combat application and for making you a better person.
Starting with combat application however, most experienced people will tell you that fighting is actually more mental than physical, so there’s the first big clue. Many say its about 90% mental. However, this concept is not often explained in depth.
If you face somebody in a real street situation and your mind is on the point of panic, you won’t be able to think or focus. This will manifest in your physical movement as your body becomes tense, your techniques become short and choppy and all sense of timing, rhythm and distancing disappears. Worse still, you might just freeze altogether.
It not just important that you maintain calmness under pressure, it is essential. Regular training in martial arts teaches us to do this mainly by subjecting us to regular pressure training. Even if its just the pre-arranged fighting sequences, as the attacker increases the intensity of the attack so the defender has to react faster and more accurately to avoid being hit.
Of course this can be taken to a higher level with scenario training which is common in reality based martial arts training. But some form of meditation is also often used to calm the mind before and after training. Karate has it “moksu” at the end (and sometimes the beginning) of each class and I’m sure many other martial arts have their own equivalent.
Calmness of mind is easy when kneeling (or sitting) in a nice quiet dojo (training hall), focusing on our breathing under no pressure at all. But how exactly does this help us when some great big muppet from hell is screaming in your face “who the F**k you looking at”, you’ve just had an adrenalin dump and your legs are turning to jelly?
I’ll come back to that in a moment. Have you ever noticed that you often have a little voice inside your head? Have you noticed that unless you consciously control this little voice it is usually negative, telling you that you can’t do something or you will fail. Ironically, most people know that it is there, but 99% of the time they are completely unaware of it. When something goes wrong and that little voice “oh no, this always happens to me”. Did you stop and consciously think that thought, or did it just materialise automatically? If we’re honest, it usually just materialises without us giving it a second thought.
When somebody cuts up in their car how often does that little voice shout out a string of expletives questioning the other drivers parentage? Again, was that a conscious thought, or was it just automatic?
For most people (if we’re honest), it is just automatic with no conscious consideration. But does that reaction help us in any way? Does it do anything in any way shape or form to make the situation better?
No, of course it doesn’t. If anything it makes us feel worse. So why do we have this mechanism inside our heads that automatically responds to situations, usually making them seem even worse?
OK, back to Mr Muppetfromhell. What will that voice be saying when confronted by him?
“He looks real big”. “Oh god, he’s going to kill me”. “I’m a black belt, this will be so embarrassing if I get beaten up”. “Should I run”. “Will he chase me”? “What if I hit him and it doesn’t stop him, he’ll be even more angry”.
And so it goes on and on. As with the other examples, does this voice help you or hinder you? Do you have any real control over it, or does it just happen automatically?
You really need to silence that “nutter” inside your head. The more dangerous the attacker that confronts you, the more difficult this is to do. Ironically, the more dangerous your attacker, the more essential it becomes to be able to do this.
This is where the meditation (moksu) comes in. This is why you focus on your breathing in an attempt to silence your own personal little nutter. This can also be done with kata/forms too, which is often described as a moving meditation. However, if you’re a high grade, try to think back to when you were a beginning. Whether it was kata or moksu, did you find it really hard to focus without that little voice coming in, saying things like:
“My knees are aching kneeling here”, “how long will this last for”, “that was a good session”, “I scored a good roundhouse kick against Charlie tonight”, “I could murder a pint of beer after that session”.
How many of you have those thoughts, (or can remember having them) when you meditate/moksu? If you can’t silence the voice in those peaceful conditions, how on Earth do you expect to do it in the face of Mr Muppetfromhell when he’s frothing at the mouth? But over time, often a number of years, many learn to do it.
However, most people are not aware that part of the reason for meditation/moksu is to silence the voice (your personal nutter), never mind being aware of why that is important in combat.
I’ve recently been listening to an audio book by Andy Shaw called Creating A Bug Free Mind. Although it is not a martial arts book, it has a direct read across (as described above). In it, he gives you an exercise to do to see how in control of your own mind you are, which I would ask you to try. The real life combat applications (as described above) will become apparent. Simply think of any happy memory. It can be a promotion, first date, birth of a child, holiday, absolutely anything that makes you feel good and happy. Now try to hold that thought and that thought only for just 15 seconds without any other thoughts coming into your mind. Please stop reading and try that now!
I’ll guarantee that most people will not able to hold that happy thought for just 15 seconds without another thought interrupting. I would guess that many of the higher dan grades can do it due to their years of training. If you are an instructor and you can do this easily, then I suggest that you ask your class to do it and you’ll probably be shocked how many can’t.
So now hopefully I’ll have changed a few minds as to what the meditative side is for and what you are actually trying to achieve through it. Understanding what the point is, goes a long way to helping achieving it more quickly. It might also help to understand why many senior martial artists include Tai Chi and Chi Gong as they advance.
So if actual fighting really is 90% mental, how can we control our minds in a real fight, when we can’t hold a happy a thought for 15 seconds? How do get that control over your mind so that you can hold a thought for 15 seconds or more?
There are ways that this can be achieved quite easily (without years of meditation). I can’t really do it justice in a few blog postings, as it took me several chapters to really get my head around it. However, if you go over to Andy Shaw’s website, you can download the first 5 chapters of Creating A Bug Free Mind completely free. I’ll tell you in advance, this book is heavily marketed, but it really is the most profound self development book I’ve ever come across and it will show you how to silence that voice (without costing you a penny). This can be done in days or weeks rather than years. As such, I believe that it will really accelerate your martial art training. I’ve used the example of Mr Muppetfromhell screaming at you, but it applies just as well to friendly sparring in the club, or focus on your kata/forms.
It also applies to dealing with business problems, money matters, driving or relationships. In fact it can apply to just about any situation in your life. I seriously recommend that you go to http://www.abugfreemind.com and get those first 5 free chapters.
One of biggest assets in a real fight is to be able to move naturally. And there is no more natural bodily function then breathing.
Yet in Karate, I believe that one of the biggest problems over the years has been an over emphasis on the exhalation at the end of the technique. In fairness to other styles, I should point out that most of my experience is with Shotokan Karate so it may not apply to other styles quite so much. But if everybody is honest, I don’t think that Shotokan is completely alone with this fault.
An over-emphasis on exhalation at the end of a technique, especially if the exhilation continues after the technique is competeled will unnecessarily waste energy, create pauses between techniques (where your opponent could counter) and create stiffness and tension in the movements. Not only is this counter productive for self defence, but it not the healthiest way for the body to move either.
I would guess that a lot of this come about because many of Funakoshi’s early students where lost during the War. After the war, Funakoshi was quite old and not able to steer the teaching quite so much. Also Karate was dumbed down a lot for political and social reasons (see my 5 part video course for more info) so more emphasis was placed on the physical development.
Over the decades Shotokan Karate (and probably most other styles) has progressed and become much more fluid and relaxed (hence more effective). Some of the very senior Karate masters like Kanazawa, Kase and Abe have also studied Tai Chi (as does my Sensei) and have brought some of that knowledge back into their Karate. There are still many who do it the old way tense way, but it’s changing.
However, I think that for the majority, the details of breathing are seldom broken down in the way I’ve been taught. So I’ve put together a couple of videos to help anybody who is not quite sure of how it should be done.
Ironically, the way it performed in the more modern versions of Shotokan is quite similar to how it is done in the more modern versions of Tae Kwon Do where they use the sine-wave movement. Although Shotokan does not rise up and down like the sine-wave, both breath in during the first half of the step to get relaxation and fluidity and exhale in the second half of the technique. It is explained a bit more in the following video’s which I hope you enjoy.
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.
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”.
“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.
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!
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.