LEARN THE CHARACTER(S)

 by Phillip Starr

I often urge my students to learn to read certain Chinese characters (particularly the ones associated with martial arts) because I believe that a firm understanding of the characters can lead to real insight into various techniques, forms, and even styles. I strongly suggest that practitioners of Japanese, Okinawan, and even Korean styles do the same thing. Let me provide a couple of examples...

Take the characters for “ninja” for example (忍者). The first character, “nin”, is comprised of two radicals. The uppermost radical is “dao” in Chinese (刀) and means “knife.” Actually, it refers to a type of sword with a curved, single-edged blade (broadsword). The bottom radical, “shen” (心) refers to the heart. Taken together, this whole character means “endure.” The second character, “ja” (者), refers to a person. So this tells us that a ninja is a person who can endure a great deal – remember, having a razor-sharp blade hung ABOVE your heart (thus, the placement of the radicals; the radical for the sword is above the radical for the heart) is a bit stressful, right? But such a man can endure this kind of stress and difficulty.

Now let's look at the well-known “knife-hand” (刀手), which is called “shou-dao” in Chinese and “shuto” in Japanese. The first radical is “dao” (刀) in Chinese and “to” in Japanese (pronounced “toe”, it's just one of several words for “sword” that the Japanese use), which doesn't really refer to a knife as we think of it. Rather, it refers to a curved, single-edged sword (broadsword). The second radical is “shou” (手) in Chinese and “te” in Japanese. The Japanese pronunciation of the Chinese character, which they kept, is “shu.” So the name is literally “sword-hand” or “hand-sword.” But there's more to it that just simple semantics; it tells you something about the technique itself...

The Chinese and Japanese character for sword (jien in Chinese, and ken in Japanese, 剑) refers to a straight, double-edged sword. But this isn't the character used for the technique; that particular character refers (in both Japanese and Chinese) to a curved, single-edged blade. The key word in that statement is CURVED. If, when you execute a “knife-hand strike”, your hand and arm are aligned in a straight line, it's wrong; it should be gently curved from the tip of the little finger clear to the shoulder because your entire arm is supposed to represent the curved blade! And this curvature actually begets greater striking power.

I think you should be able to understand the importance of learning the characters and dissecting them so as to decipher the meaning of the radicals that form them. It can really give you much deeper insight into the art that you practice and/or teach.

LANDING A HIT?

 By Phillip Starr

Bruce Lee frequently used to refer to “landing a hit.” Just what did he mean, anyway? Actually, when used as he used it, a “hit” is a term used in fencing (which he studied) and it means to land a blow on the opponent and subsequently score a point. It doesn't quite compare to what the Japanese call “ikken hissatsu.” Ikken Hissatsu (一拳必殺) is a term used in traditional karate, meaning "to annihilate at one blow". This, however, does not mean that any clash can and should be resolved with the use of only one stroke, but it conveys the spirit that the karateka must utilize.

Traditionally, according to various practical applications of kata, karate was modeled so that a person could face more than one opponent simultaneously. However, with the advent of sports karate, this characteristic has been ignored, thus de-emphasising Ikken Hissatsu.

Actually, the term originated from Japanese swordsmanship, wherein the objective is to kill the enemy in a single stroke. In karate, however, the same objective is sought. Arduous training is required to effectively attain such a technique. It isn't something that can necessarily be achieved quickly, it requires that the practitioner develop a high level of skill in generating shock (what I call “body shock”) with his technique.

Some percussive martial arts (most of which are Chinese) emphasize the speedy delivery of multiple blows and their adherents strive to be able to execute many strikes/punches as quickly as possible. Of course, the problem is that such techniques cannot, according to the laws of physics and kinesiology, individually carry much power. The idea is to cause a cumulative effect so that the enemy finally succumbs to the rapid-fire delivery of multiple blows.

This is in contrast to martial arts systems that aim to disable or kill an enemy in a single blow. I remember one of my older classmates (who was at least 10 years older than me) bragging that he could punch me 4-5 times in the space of one second. My teacher overheard his not-so-veiled threat and walked over and remarked, “But I would need to punch him only once.” The braggart wisely ended the conversation at that point. My teacher believed in the old idea of “one shot per customer”...

This isn't to say that those who believe in the ikken hissatsu idea place all their faith in a single technique; they're prepared to deliver follow-up blows if necessary. But each follow-up blow will carry enough power to destroy the enemy. Because they carry so much power, combinations of such techniques will naturally be a bit slower than those that contain less power. Their practitioners hope that the enemy will ultimately go down under their cumulative effect.

I sometimes compare the difference between the two as that of shooting at someone with a .22 and a .44 or .45 caliber handgun. If the larger caliber bullet hits the enemy (pretty much anywhere), he'll bloody well stay hit. The .22 is a different story, although I'd rather not be shot with a bullet of any kind...

THE KNOT IN YOUR OBi

 by Phillip Starr

The next time you don your karategi, take note of where the knot is set; is it as high as your navel? Higher? Is it below your navel? Most martial artists don't know what the belt/sash was originally intended for (and still should be). It wasn't a delineation of rank, per se. It's actually a tool that is meant to promote correct breathing!

Eons ago, the ancients (in China) developed a form of breathing, which we call “reverse breathing. This special technique has the lower abdomen (as well as the flanks and lower back) expand outward upon exhalation, which is the opposite of what we know as “normal breathing.” If the sash (yaodai) was wrapped firmly around the lower belly, one could readily feel it when the abdomen pushed out against it when exhaling. Then one knew if the breathing was correct. Moreover, it fostered the development of very strong breathing and that helped develop increased power in one's technique (as well as promoting other side benefits).

For a long time, this technique was regarded as secret but with the passage of time, the secret eventually became fairly well-known and was practiced by a great many martial artists. But breathing isn't particularly exciting to practice and it was eventually forgotten.

In modern China you can see large numbers of people practicing a variety of forms of gong-fu in the parks every morning (they're especially fond of taijiquan). Many of them still wear a form of sash although it may well be worn underneath their upper garments. It's not unusual to see some of them wearing common Western-style leather belts! Cinched firmly around their lower bellies and hence, the dantien (“tanden” in Japanese), the tradition of wearing a sash during practice is carried on although I suspect that many of them don't know exactly why this is to be done; they do it because their teacher told them to do it...

Old pictures of karate teachers in Okinawa show them wearing a sash. When Gichin Funakoshi introduced karate to Japan, he became a close friend of the founder of judo, Dr. Jigaro Kano. Kano had developed a standardized practice uniform (judogi) and his students wore a cotton belt (obi) around their middles. The knot was pulled down so that it rested on the area of the dantien. Thus, if his students were breathing properly they could readily feel it.

Gichin adopted the judogi, making a lighter version of it (the modern karategi) and he began using the cotton obi as well. Early karateists wore their belts down low and I recall seeing the old-timers constantly pulling their obi's down as they would ride up a little higher during training.

Nowadays it's not unusual to see martial arts devotees wearing their belts rather high- some worn as high as old men wear their trousers!! This is incorrect and it's clear that these students (and probably their teachers) don't know what the belt is really all about; it's not to keep your jacket shut or simply a symbol of rank. It's a training tool and should be used – and worn – as such.

KIME

 by Phillip Starr

Kime (Japanese: 決め) is a Japanese word. It is the noun form of the verb "kimeru," which means "to decide". Kime (pr. “kee-meh”) is a commonly used term in Japanese martial arts. In karate it can mean "power" and/or "focus," describing the instantaneous tensing the body at the moment of impact during a technique. The tension at this time is mostly focused on the dantien ("tanden" in Japanese) and abdomen. In judo, the "Kime-no-kata" is often translated to "Kata of Decision." In other budo, the term refers to attacking a vital point. In all cases, certain finality is implied.

I remember many years ago, my karate teacher trying to get across to us the idea of applying kime. In fact, I'm fairly sure that he didn't fully understand it himself.

Nowadays, most practitioners of Japanese karate interpret the term as the instant (of impact) when the body is tensed for a split second. It is my belief that this interpretation of the word/concept is flawed.

When you punch or strike something in any fashion, the instant of impact wherein the force from your body is transmitted into the target is measured in micro-seconds. Trying to tense your muscles at that exact moment is pointless; you're going to be either too early or too late. It's best to let nature/physics take over and do its thing; if your structural alignment is correct, the force will be transmitted perfectly. Don't interfere because you'll just muck it up.

In my opinion, kime is the focus of body (that is properly aligned), mind, and spirit for a split second. It results in a deep, explosive power that is directed by your will (yi).

Unfortunately, the concept of kime is being lost in today's contemporary martial arts world. The concept of focusing one's being (for a micro-second) on a single technique is foreign to many modern martial artists.

I hope that you will practice and develop your kime through the practice of your basic techniques, formal one and three-step fighting practice, and kata. It is essential to understanding and practicing real martial arts.

IT'S A LONG STRETCH...

 by Phillip Starr

How frequently do you engage in flexibility exercises? Most of us don't really like to do them; they're uncomfortable and boring. We'd rather get into the “meat” of our training – the various punches and kicks and practice routines with a partner. And that's perfectly normal. It's the same wherever you go – whether it's in the US, England, Japan, China, or Korea. Most martial arts enthusiasts really dislike doing stretching routines but most of us understand that they're really an essential part of training; they warm up and prepare the muscles for vigorous exercise (and help prevent strained or torn muscles), they foster good circulation, which helps remove toxins and helps keep the muscles soft and pliable, and they provide other health benefits as well. The Chinese say that “long muscles mean long life” and to some degree, they're right.

I'm convinced that one of the main things that contributes to “old age” is lack of flexibility. Most senior citizens stop doing any kind of flexibility routines and their aging muscles get tight and seem to “shorten.” This can result in poor(er) circulation and contributes to balance problems and a host of other health problems. If you're fairly young, make stretching exercises a part of your daily workout. If you don't, you'll pay for it when you get older! It's more difficult to increase flexibility when you're older (and the muscles have stiffened) that when you're young. But (for you oldsters out there) it CAN be done; you just have to go slowly and don't “over-do and risk tearing a muscle. If you keep flexible from your younger years, remember that it's much easier to stay flexible than it is to get flexible.

Working to increase your strength is good (especially when you're young) but flexibility is, in my opinion, more important overall. And when you stretch, remember that your muscles are akin to rubber bands, Don't “bounce”; the rubber band will simply return to its usual length and lengthening it will take a very long time. Plus, you're running the risk of tearing it. Instead, stretch and hold the position for several seconds (a nice 8-count is good) and do it several times. If you do this with a rubber band, it will slowly (and more safely) lengthen with minimal risk of tearing.

And take your time! It's good to set a goal, but make it realistic. It's actually best to set a short-term goal that is quite reasonable and then when you achieve it, set a new one...and keep doing this until you reach your long-term goal. And never compare your progress or lack of it) to others; you are unique and you must move at your own pace.

When you practice a certain stretching routine, it should be MILDLY uncomfortable, but never very painful. And if, during your exercise, you feel a burning sensation, stop immediately! That means that the muscle(s) involved in that exercise has been over-stressed and they're about to tear...

Heavy stretching is comparable to weightlifting; you should do it only every other day. Lighter stretching can be done on a daily basis. But don't practice stretching in a hit-or-miss manner. It has to be practiced regularly. If you do it only now and then, you're guaranteed an injury.

The key to stretching is relaxation. You must learn to RELAX the muscles that you're stretching as well as the rest of your body. Tensed muscles don't stretch easily or comfortably and learning to truly relax may take some time. When you stretch a given muscle, exhale and let all tension/stress leave your body along with your breath. Relax! And your gains will slowly increase. I strongly recommend making flexibility exercises a regular part of your daily workout. Set aside as little as 15 minutes for this. You'll be thankful that you did.

FORCE VS. SHOCK

 by Phillip Starr

Nowadays, I see many (perhaps most) martial arts aficionados striving to develop more and more force (what we call “brute force”) rather than concentrating on developing and refining shock. There's a real difference between the two. Force is heavy and blunt. It doesn't necessarily penetrate very deeply into the (human) target. The depth of its penetration depends upon how strong and large you are relative to your opponent. If your opponent is much larger than you, the odds of your blow (and the force of it) acquiring minimal penetration and bouncing off are pretty good. This can be more than a little disconcerting, especially in a self-defense situation wherein your enemy is much larger and stronger than you are. It reminds me of a true story involving the great boxer, John L. Sullivan of the sport's early “bare-knuckle” years in the 19^th century.

Now, Sullivan was no runt. He was quite tall and very physically powerful. And, being the “champ” he often attracted unwanted pests who wanted to prove themselves and gain a great reputation by beating him...any way they could. One one evening, Sullivan was in a tavern in New York enjoying a beer when a rather small fellow walked up and began wailing on his abdomen with his fists.

Sullivan took another gulp of beer and putting his glass down, he grabbed hold of the little guy and warned him, “If you ever hit me and I find out about it, I'm going to beat the hell out've you.” Then he released the guy who ran for the door...

Shock is a different story. It is a great amount of force that is concentrated onto a small surface and it penetrates deeply into the target and releases its energy within it, much the same as a bullet does. And there are different types of shock, each of which has a different effect – all of them nasty – on the target, For instance, a properly executed backfist has a completely different effect on the target than, say, a punch. It doesn't matter if your opponent is much larger and stronger than you. The effect is devastating.

Any way that you move will create force to some degree. But because we're all built the same as humans, there are only 8 ways that you can move that will create shock (what I call “body shock”). These are outlined thoroughly in my book, MARTIAL MECHANICS. Each one must be studied in detail and then applied to your practice of individual techniques, combinations of techniques, and ultimately your forms. This absolutely cannot be done quickly and it's important that you don't try to hurry the process. It takes time to acquire genuine skill (after all, that's the meaning of “gong-fu”; a fine skill developed after a lot of practice over time).

As martial arts practitioners,we should be able to strike with different kinds of power (shock), depending upon the target (the head as opposed to the rib cage or abdomen) and the degree of damage we wish to inflict on it. One of the types of shock that we seek to develop is hydrostatic shock, which affects liquid. The human body is 60% water and a proper technique will send a “shock wave” through the target. This is really the objective of most training routines. To develop this fine skill doesn't require much strength but is DOES require absolute precision. If we're unable to do that and we rely instead on simple brute force we're just a kind of glorified, fancified street-fighter. What we do is an ART and it takes time to develop it.

DEMONSTRATIONS OF REAL SKILL

 by Phillip Starr

Back when I first undertook the study of gong-fu and karate, many upper-level practitioners would thrill audiences by shattering bricks and boards with their bare hands (the gong-fu people rarely engaged in this practice, however). It was certainly impressive but as time passed, I came to understand that breaking a couple of boards or even a brick is nice but it isn't necessarily indicative of real martial prowess.

Over the years, I witnessed (and subsequently sought to practice) forms of “breaking” that required a good deal more than simple brute force. I will describe a few of them here...

I once saw Masutatsu Oyama (known as the “godhand” and founder of Kyokushin karate) shatter a brick...which would seem to be no big deal, except that he had a partner holding it firmly BY ONE END! He punched the lower half of the brick and cut it in half! This is an incredible feat and a display of high skill. I was never able to duplicate it...

One feat that I'd only heard about was breaking a balloon with a punch...while it was floating gently in the air. To try it sounds easy enough...just blow up a balloon and tie it off, then toss it into the air. And punch it. Go ahead, try it. It took a while, but I was eventually able to do it. In my 50 years of teaching, I've only had about 3 students who could do it. This is largely due to the fact that very, very few students were willing to put in the required training to achieve this feat.

It requires a very high degree of speed and the blow must strike the balloon with SHOCK (as opposed to simple force) so that the skin is instantly torn before the balloon has a chance to bounce away.

Another extremely difficult breaking technique is what I call the “flush break.” A brick is placed on top of the base rather than being supported by two other bricks on either ends; it simply lays flat on the base and is struck with a sword-hand to cut it in half.

Or an “unsupported” break is also very difficult; in this case, the brick is stood up on end and then hit with a punch. This requires exceptional speed and shock.

My gong-fu teacher demonstrated his skill with the sword by hanging up a wooden ring (about 4-5” diameter) and started it swinging gently. Then beginning in a preparation (“on-guard”) stance, he'd suddenly lunge forward and thrust the sword cleanly through the center of the ring! Not only that, but he'd quickly withdraw it without touching the sides of the ring!

A demonstration of real skill needn't (and usually doesn't) require a display of strength or brute force.