THE FORGOTTEN KUMITE

 by Phillip Starr

Most of you are likely more than a little familiar with the usual forms of “kumite”, which actually refers to “group practice” rather than freestyle sparring. Certainly, you've practiced both sanbon kumite and ippon kumite (“three-step practice fighting” and “one-step practice fighting”, respectively) many, many times. Both the attack and the defensive maneuver(s) and technique are prearranged; both participants know what's going to happen, they know what's expected of them, and they do their best to execute flawless, perfectly timed technique.

And most of you have also practiced with the newest form of kumite, which is known as “jyu-kumite” (freestyle or unrehearsed practice fighting), wherein both participants are free to move about and do their best to “score” on each other by delivering a strong, controlled technique. It is akin to sparring in the sport of boxing except that the blows do not land with full force, lest the participants injure each other.

There is, however, another member of this kumite family that is rarely mentioned. It was once a common training exercise but over the generations it has been forgotten or brushed aside. This is most unfortunate because its practice can greatly enhance the student's skill in jyu-kumite and consequently, actual combat. This is formally known as jyu-ippon kumite (freestyle one-step practice fighting).

Back in the 1950's, 60's, and 70's, Westerners who ventured to Japan to enhance their skill in, and knowledge of, karate were amazed at how easily their Japanese counterparts were able to trounce them when they engaged in jyu-kumite. What were the Japanese doing differently in their training? The answer is relatively simple;freestyle one-step was practiced very regularly in the Japanese dojos.

When karate was first introduced to the West by teachers from the Orient, it was discovered that Westerners weren't particularly interested in kata (they didn't understand it at all) and their only reason for training in sanbon and ippon kumite was to learn how to apply the various techniques. Beyond that, they simply weren't interested. They wanted to learn how to FIGHT and if their current instrucgtor wanted to waste their time practicing fancy katas and basic training exercises, they'd leave the school and find someone else.

To avoid losing too many students, teachers stripped down their training regimens so that students could engage in freestyle sparring at a fairly early stage. Freestyle one-step was one of the things that was tossed out the window. What a pity!

It has been said that jyu-ippon kumite is the “bridge” between formal three and one-step practice fighting and freestyle practice fighting. This is true enough but I maintain that freestyle one-step fighting is a special training exercise unto itself and promotes the development of supreme fighting skills. In all the many years that I have taught martial arts, I have emphasized regular and vigorous practice of this training method. Students learn to respond instantly to an attack and apply their classical techniques almost as if they were engaged in kata practice.

There are several different ways of practicing freestyle one-step and they are thoroughly outlined in my third book, “MARTIAL MANEUVERS.” If you don't yet have a copy, save up for your lunch money and purchase one. However, I will attempt to briefly outline the basic methods of practice here.

Jyu-ippon kumite does not necessarily begin as if the participants are about to engage in jyu-kumite. They exchange bows and then assume their favored pre-fighting posture (or, “on guard”). It is the attacker's job to execute his single attacking technique to the best of his ability while also trying to score on his partner. He is permitted to strike whenever he wishes to do so and may use either hand or foot (depending upon the nature of the attacking technique, which is agreed upon prior to practice). He must strive to perform a flawless technique with proper timing and distance. Once he executes his technique, he should “freeze” momentarily. He mustn't make any attempt to defend himself against his partner's defensive technique.

The receiver must not attempt to strike the attacker until an attack is imminent or being delivered. When the attack occurs, he must respond instantly, without the slightest hesitation. And he must do his best to execute a textbook-perfect technique from a stable platform (stance) with perfect distance, timing, and power.

• Attack Fixed, Defense Fixed

In this beginning method, both the attack and defense are “fixed” (prearranged). This is much like ippon kumite except that both participants are free to move about as they wish and the Receiver does not know when the attack will occur. Until students can perform this basic practice method skillfully, they should not attempt to proceed any further.

• Attack Fixed, Defense Unfixed

In this more advanced method, the attack remains fixed but the receiver is free to respond with a maneuver and technique of his choice. Again, both participants must strive for perfect technique. If the receiver's distance, timing, or power is bad, it is counted as a “miss.”

• Attack Unfixed, Defense Unfixed

This advanced practice routine allows both participants to use a technique of their own choosing. However, the requirements are the same as previously; both persons must strive to execute flawless a technique. This method of practice has actually been turned into a form of sport, which, in my opinion, is much more demanding and difficult than the usual jyu-kumite form of competition.

You can easily see how this method of training actually bridges the gap between kata and jyu-kumite. It can also be employed by those who practice grappling arts such as shuai-jiao, judo, or aikido. The keys to successful use of this method are endeavoring to execute perfect technique and frequent, regular practice. If students will engage in this training routine on a regular basis, they will soon notice a substantial difference in their level of fighting expertise!

Everything You Need To Know...

 by Phillip Starr

  Some years ago there was book written which was entitled, "Everything I Ever Needed To Know About Life I Learned In Kindergarten." It was a beautiful little book and it held true to its title. The author spoke of learning about things like courtesy and consideration, sharing with others, and my favorite part - milk and cookies followed by a nap.

     Many years ago at the First National Yiliquan Seminar, I made a statement which, I think, came as something of a surprise to many participants - but only because they'd never thought about it.  I said that the whole core of the system (and probably most martial disciplines) is taught in the period we know as "basic training." As we all took time to think about that statement, we all realized how true it is.

     This statement doesn't indicate that we necessarily master the many things we learn as beginners; rather, it means simply that we are told about them, shown how to perform them, and encouraged to practice them every day.

    Which most students don't.

     Thus, the "mysteries" of the art remain as mysteries because so few martial arts enthusiasts neglect their daily practice and fail to look deeply into the art.  But consider what is shown to beginning students of Yiliquan (and those of you who practice another martial form can list the "core" items that are taught to beginners in your respective arts):

* Courtesy
* Basic Techniques (The most basic techniques upon which all other techniques are  
   built.)
* Basic Body Actions and Body Mechanics (which provide power to the basic 
   techniques)
* Proper Breathing (provides power to the techniques and enhances overall balance)
* Basic Stances (how to stand in a balanced manner)
* Basic Stepping Methods (footwork - how to move from one stance to another)
* Moving From One-Point
* How To Fall (breakfalls - there's more to this than meets the eye)
* Fundamentals of qigong (4 Principles and basic exercises)

     You'll notice that the items listed above are all interrelated; they "dovetail" into each other although a beginner cannot see how this is possible. Senior practitioners will immediately notice the relationships between these items.

     It's obviously way too much for anyone to thoroughly learn in a short time. In fact, this material will require years of regular and rigorous practice. And almost everything that is taught to the student after this stage is just frosting; training that promotes a deeper understanding of the items on this basic list and fosters the development of real skill.

     As students progress through the system and learn more complex material they often lose sight of the basic material they were shown as novices. What they fail to understand is that what they learned as a beginner must be applied to everything they learn from that point on.

     They must learn how to apply these things to their forms which become increasingly complex. They have to learn to apply them when they practice formal Three and One Step Fight, Freestyle One-Step, Freestyle Sparring (!!!), Self-Defense, Weapons Forms, and so on.

     For instance, take a minute and run through one of your forms. When you've finished go back and see if you used the correct form of breathing. Were you moving from your One-Point? Were your body actions correct? And bear in mind that you must practice each form until it can be executed perfectly without having to check each of these items!

     That kind of skill can't be developed overnight. It can't be developed through haphazard practice, either.

     Senior martial arts practitioners don't possess any secret knowledge. They don't practice highly advanced, secret techniques. Instead, they simply practice the basics. Every. Day. Everything they really needed to know about their respective martial disciplines they probably learned from their teachers in the earliest stages of training. They've simply learned how to fit everything together.

     One of my senior students and I attended an iaido (the art of drawing and cutting with the Japanese sword) tournament and testing in Council Bluffs, Iowa. I was told that it was probably the largest such event in the entire United States that year! Anyway, during the examinations (which were held for all grades up to and including 6th dan) I noticed that ALL EXAMINEES were made to perform the most basic iaido kata known simply as "Mae" (meaning "Forward, Front").  Without going into a lot of detail about the minutae of this particular kata, it begins in a kneeling position. The practitioner comes up to one knee and draws the sword in a horizontal cut with one hand. The sword is then brought back, gripped with both hands, and an overhead cut is executed. The swordsman then rises to his/her feet, performs a blood shake (to shake imaginary blood from the blade) before re-sheathing it.

     It sounds simple enough to do and by the time an iaido student reaches the stage of sankyu or so, he or she can perform it with considerable skill. But consider...someone testing for 5th or 6th dan is also required to do it. Such a person has put 25 years or more in training! You'd think they'd have it right by that time, wouldn't you?

     Sure. They can do it correctly. But they have to do it MORE correctly than someone of a lower grade. All of the items they learned as beginners have to become an integral part of their movement and technique without conscious effort. IT must become them and THEY must become it.

     Moreover, the essence of all other techniques and kata are contained within this first, basic kata. Once this one is truly mastered, so mastery of the others follows easily.

     Everything you really need to know about your martial art, you learned in kindergarten...

ETIQUETTE

 by Phillip Starr

I would hope that the majority of my readers would be more than a little familiar with the basic forms of etiquette that are typically practiced within the training hall. Students line up prior to the start of class, bow to the instructor, and then begin the training session. The same thing is done at the conclusion of the training period. Most of the participants don't give it much of a second thought. It's simply a way of “showing respect” to the teacher; an “Eastern oddity” that is practiced more as a form of tradition and simple courtesy than anything else. It requires no more than a few seconds, anyway. No big deal. Or...is it?

To the average person, such quaint customs are nothing more than polite gestures that they are expected to learn and then regurgitate at the appropriate time. Usually, they are devoid of any real substance; they are regarded as old-fashioned, cultural oddities that were developed and practiced by our ancestors. However, to the bugeisha (a person who practices the traditional martial ways of the East), they are much more than that. Much. More.

For instance, let's take the beginning of class. Students are ordered to line up. Their lines should be straight and students adopt the position of “readiness.” In some schools, the most senior student (who may assist the instructor) stands off to one side at a right angle to the students and the instructor. Your stance should never look limp or sloppy. Your uniform should be neat and clean. Your body, mind, and spirit are held in a state of readiness. It is a preparation for learning, a preparation to face yourself. Your eyes should be directed straight ahead but peripheral vision must be maintained. You should not shift their eyes from side to side or turn your head. You remain focused on your instructor.

At this point, some schools have the students and the instructor perform a standing bow. Others, particularly Japanese disciplines, order students to kneel down (and yes, there is a special way of doing this) in the position of seiza with the feet tucked under the buttocks. Beginners will find this position more than a little uncomfortable but they must avoid any display of discomfort. To do so is to show that one's spirit is weak and in a martial arts school this is entirely unacceptable.

In Japanese schools the command of “mokuso!” is uttered by the instructor. Students sit quietly with their backs straight and their eyes almost shut. Many people refer to this as a period of meditation prior to the beginning of class but this is incorrect. Rather, it is a period of quiet introspection. It is way of leaving your mental and emotional “baggage” at the door so that it will not interfere with training and your ability to learn. It is a time for focusing on what you want to achieve during this particular class. You “clean” yourself and prepare to receive instruction.

After a short time, the teacher may turn to the front of the school (with his back to the students) and they all perform a formal kneeling bow to the front of school. He then turns to face the students again and they exchange bows to show respect for each other.

As with everything else in the training hall, there is a proper way to execute the standing and kneeling bows. For instance, I remember when I first received instruction in this ancient tradition. We were told that even when bowing, one must not take one's eyes off the opponent (or whomever one is bowing to). Thus, we craned our necks and rolled our eyes upwards when we bowed so as to keep our partners in view. As you might expect, my instruction came from a Westerner who didn't clearly understand how the proper bow is to be done. The first time I did this in front of a Japanese instructor, I was quickly corrected. To crane one's neck and raise the eyes as I was doing is considered very rude because it demonstrates an obvious mistrust of the person(s) to whom one is bowing. Rather, the neck is kept aligned with the back and the eyes are are allowed to drift slightly upwards (without raising the eyebrows) so as to allow a reasonably full view of the other person.

And of course, all movements must be performed from the tanden (in Chinese, dantien) so as to permit complete control over one's body at all times. Moving from this area, which is located about three finger-widths below the navel, not only grants full control over one's physical movements but it also affects one's mental and spiritual stability as well.

Regardless of procedure or the culture from which a given martial form originated, this act of exchanging bows is extremely important. In my opinion, it is vital to maintaining the spirit of the class because it sets the “tone” of the class and reminds us that we are about to engage in the practice of a special Eastern custom whose roots reach back to antiquity. Although not a drop of Eastern blood may course through our veins, we are links in a chain of a very special tradition and it is crucial that we keep that tradition intact so that it can be bequeathed to the next generation in its entirety.

I lived in China which, contrary to what many Westerners believe, is not “the land of bowing.” Japanese culture emphasizes bowing as a form of courtesy; Chinese culture does not. Thus, Chinese martial arts instruction generally does not begin with any kind of formal bowing. The lack of such “old-fashioned formalities” is readily apparent and it is my opinion that it has a negative impact on their training.

A formal training period concludes in much the same manner. Students line up and, in the case of most Japanese martial traditions, kneel down and the command of “mokuso!” is repeated. Students will take a few seconds to consider what they have learned and prepare themselves to re-enter their daily lives. The teacher and students then exchange bows. Students then rise and again adopt the position of “readiness” before being dismissed.

“Alright”, you say. “So, this is part and parcel of a martial arts class. It's a cute ritual but what has it got to do with living in the modern world? And the answer is, “More than you suspect.” Discipline and control are two of the key elements.

In this regard, discipline has to do with proper conduct and perhaps more importantly, self-control. The two go hand in hand and they are very important ingredients if you expect to enjoy a successful, satisfying life. These virtues are easy enough to nurture when you're healthy and in good spirits but the real test lies in your ability to cultivate them when you're not feeling well. After all, anyone can maintain a fair level of self-control when they're feeling “up” but it's another story when they're angry, frightened, frustrated, discouraged, depressed, or in pain. Learning to preserve your composure under such adverse conditions requires a fair measure of discipline and is one of the objectives of your training.

The discipline and control that are developed in the training hall should be carried over into your daily life where it will affect everything that you do, from how you stand up and sit down to how you drink your morning coffee, cook up some pasta, and even how you brush your hair. Of course, it also impacts the larger, more dynamic elements of your life such as how your perform your job and the relationship you have with everyone who walks into your world; your co-workers, your boss, your spouse, your friends, family, and ultimately...yourself.

And it all started with what seemed to be a simple bow.

THE SPACES IN BETWEEN

 by Phillip Starr

There is a saying that tell us, “The music is not in the notes, but the silence in between.” This is a very profound statement that can apply not only to music, but to martial arts as well. Just because there seems to be a “space” between the notes doesn't necessarily infer that they are void. And the next time you watch the performance of a kata, pay close attention to the the spaces that seem to exist between the individual techniques and postures. Is there anything there at all; are they truly empty?

I have seen many practitioners almost prance through their sets, placing great emphasis on the techniques but the spaces in between their blocks, punches, and kicks were just so much dead territory. They were simply “posturing”; their forms amounted to nothing more than a rather lengthy facade of martial arts poses, as if they were being photographed for the cover of a magazine. Oftentimes, they would drop their hands to their sides before executing the next technique!

In genuine, traditional forms the placement of the hands and feet in the so-called “empty space” is very specific. There are reasons for that, not the least of which is the fact that various striking, kicking, joint-twisting, and throwing techniques are often concealed within them. The spaces are not really empty at all! Moreover, dropping the hands or waving them about meaninglessly provides the (imaginary) opponent with large openings, “windows of opportunity” through which he can deliver an effective counter-strike.

This same idea applies not only to the performance of kata, but to the practice of combination techniques as well. What seems to be an “empty space” in between the individual techniques must not be barren. You must ensure that you don't open the “window of opportunity” too wide and provide your enemy with easy entry. The placement of your hands and arms, your legs and feet, and your physical posture must be very precise so as to afford you maximum protection during the execution of your combination.

In the practice of traditional martial arts, nothing is wasted and nothing is done haphazardly. Every movement, every gesture, is to be done just so. There's a reason for everything, including what appear to be “empty spaces” because they really aren't empty at all.

ELEMENTS TO REMEMBER

 by Phillip Starr

In earlier writings, I've mentioned the concept of “kyo”, which is the chink in your opponent's armor; it is an opening, a “window of opportunity” through which you can quickly enter his defense perimeter and bring him down. Well, that's what you hope to do, anyway.

I can see that you're a little perplexed. “Whaddya mean, 'what I hope to do?'” Well, you're going to barrel through that window and...then what? Stop and consider that once you enter that window, not only are you close enough to strike the opponent...but he is equally close to you! Ah, yes...I saw some eyebrows jump. Hadn't thought about that, had you? You bet. So, you'd better bring him down because if you fail, it'll be his turn.

There are five key elements that must be studied and practiced repeatedly if you are serious about developing real martial skill. We're going to look at each one individually.

SURPRISE OF ENTRY: This would seem pretty obvious but many people miss it. Your movement (not just your technique) must occur suddenly and without warning. The enemy must have no clue that you're on your way and when it happens, he should be taken by complete surprise. This means that you have to train to eliminate any “telegraphs” (small movements or physical signals) that indicate your intentions. If you fail to do this; if you inadvertently “telegraph” your plans to your foe, the results will be disastrous.

SPEED OF ACTION: In this wise, I'm not talking about how fast you can deliver a punch or kick; I'm talking about how swiftly you can move your entire body and deliver your techniques . You dare not be too slow or pause in the middle of your attack lest you provide the opponent with your own moment of “kyo.” Your movements must be smooth and quick, never wooden, clumsy, or “jerky” as if you were a robot. Everything flows together seamlessly, without a break.

Both of these first two elements, Surprise and Speed, have to do with the concept of timing and rhythm. These concepts are discussed in detail in my book, “MARTIAL MECHANICS.” It presents special training routines that will help you polish your timing and better understand the idea of “rhythm” and how you can apply it to your best advantage. I strongly suggest that you save up your beer money for a couple of days and purchase a copy.

CLOSING WITH THE ENEMY: The objective here is to take the opponent's ground! You must close with him as quickly as possible while simultaneously firing out powerful blows. You are already inside his defense perimeter and he must do his best to defend himself against the onslaught. He has no chance to mount a counter-offensive; your blows force him to focus on defense. Train to apply the techniques with which you are the most comfortable, including both grappling as well as percussive techniques. You must figuratively “grab him by the belt” and don't let go!

VIOLENCE OF ACTION: This goes hand in hand with the previous element. Your attack must be overwhelming and extremely violent. This isn't to say that you must become angry or otherwise lose control of your emotions. On the contrary, you must control your feelings and keep your spirit calm. Bear in mind that your objective is to take his ground (remembering that no battle was ever won by letting the enemy keep his ground...) and run over him. Literally.

CONTROLLED EGRESS: Once the enemy has been brought down, you must immediately move out of his striking range. Keep in mind that thugs rarely hunt solo; he'll likely have friends very close by. You must be prepared to deal with them, so don't pause, “pose”, and admire your handiwork as if you're in some grade B kung-fu movie. Maintain eight-directional zanshin and prepare for whatever may come next.

Here endeth the lesson.