This is something that has been discussed on my Facebook page before, but I wanted to go into more depth with it. Most traditional martial arts have been dumbed down. Karate applications (Kata bunkai) were dumbed down when the Okinawans decided to introduce it into their school system in the late nineteenth century. This dumbed down version was taught to the Japanese and from there to the Koreans. Continue reading “Kata Bunkai for Shorin Ryu Pinan Shodan (Heian Nidan)” »
My on-line friend Colin Wee, 6th Dan TKD, has proposed an Anti-Bullying Blogging Carnival. As I used to be bullied a lot back in far distant school days, I thought this was a good idea, so this is my contribution to the Carnival.
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.
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.
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.
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.
Here we take a look at one of the movements from Hangetsu kata (formally known as Seishan). Karate is usually looked at as being linear and Kung Fu as being predominantly circular. However, the technique that we look at below is performed in a circular manor in the kata, but when we look at similar Kung Fu movements, they are performed in a linear manner. As per usual, there is more in common than there is different.
Here we take a look at 2 blocks which are very similar. Wing Chun’s Bong Sau (Wing Arm Block) and the Age Uke (Rising Block) used in Karate, Teakwondo and Tang Soo Do. The advantage of comparing techniques between different styles is that sometimes you get clues as to how they originated. Wing Chun is based on Snake Kung Fu and Crane Kung Fu. One of the main influences on Okinawan Karate was White Crane Kung Fu, so there would appear to be some common roots.
Furthermore, by looking at how another style uses its techniques can often give clues as to extra applications for which you can use your own techniques. This is particularly advantageous to Karate, TaeKwonDo and Tang Soo Do practitioners as a lot of our original applications have been lost along the way.
This is a follow up video to my previous one on Sao Choy, which addresses a few of the questions and comments it raised, particularly “Wouldn’t it be safer to do it on the outside of the arm?” and “You can also do Sao Choy after various other blocks or parries”.
The video shows a few more Choy Lee Fut techniques – Pao Choy, (which I believe translates as “cannon fist”) which is a upward strike similar to an uppercut and Poon Kui (which I believe translates as “coiling bridge”), which is a circular block that can be used as a great set up for a lot of Choy Lee Fut techniques since it should help destabilise the attacker.
In this video I use the technique called Sao Choy from the Choy Lee Fut system. Sao Choy (“Sweeping fist”), can be found in all styles of Choy Lee Fut, but seems to be particularly emphasised in the Buk Sing style I practice, along with Chap Choy.
When using the Sao Choy technique you’ll notice that the Choy Lee Fut practitioner usually performs a clearing or blocking action with the other hand first. Like most techniques in Choy Lee Fut, Sao Choy tends to be used in combination with other techniques in a fluid and circular manner, rather than in isolation. Since more attention is usually paid to the arm doing the Sao Choy when explaining the technique, I thought I’d concentrate on what the other hand is doing in my video, since there can be a lot of subtly to the technique employed, which is easy to miss. It’s also interesting to compare with similar posts on this blog that examine what the non-striking hand is doing in other arts, like Karate.
One of the features of Buk Sing CLF is a kind of “through the back” power, which connects the action of one arm to the action of the other, so that rather than operating separately, they work together to achieve their aims. A discussion of what the “other” hand is doing in the Sao Choy technique naturally leads on to a discussion of how this “through the back” power works in Choy Lee Fut in general.
It should also be noted that you are not limited to the particular clearing technique I’m demonstrating here prior to the Sao Choy – other popular options are Gwa Choy (a backfist) or Poon Kui, a circular block.
I hope you enjoy the video, and feel free to ask questions in the comments section.*
* Apologies for my slightly irreverent presentation style(!)