THE SECRET

 by Phillip Starr

Tadashi Yamashita (10^th dan, Okinawan Shorin-ryu karate) once said, “The real secret to karate (and hence, all martial arts) is the stance and footwork. But no one wants to practice them anymore.” I agree whole-heartedly. If one's stance is wrong, one cannot generate real power and if one's footwork is flawed, one cannot effectively apply his/her techniques or defend him/her self. Even so, many martial arts practitioners pay little attention to these subjects and fail to train them properly.

The first consideration is stance. What is the primary function of a stance? Simply put, it provides a solid platform for the issuance of power....a “power base”, if you will. If the stance is incorrect in one way or another (too long, too short, too high or low, too wide or too narrow...) the platform is weakened and the power that is issued from it is minimized. This is why the teachers of past generations emphasized the development of a strong, stable stance. One must be able to “root” oneself to the ground. If this isn't done, the returning force of one's own blow can easily result in loss of balance and consequently, loss of striking power.

Newton's third law of thermodynamics tells us that for every force, there's an equal and opposite reaction (force), right? Those of you who managed to remain awake during your high school science class should remember this. So when you strike something (like a bad guy), the INITIAL IMPACT travels from you into your foe and down through his bracing leg and foot (that's usually his rear foot). That is, if I push you, you'll feel the force going into your rearmost foot...

But it doesn't end there. Remember Newton's law? YOUR force will “bounce” back up through your opponent's rear foot/leg and be RETURNED TO YOU, where it will travel down through your driving leg/foot (usually your rear foot). Those of you who've bothered to pick up a copy of my book, MARTIAL MECHANICS, should already know this.

At this point, if you're off-balance or in a weak stance your own blow's returning force can easily cause you to lose your balance (so if you're already off-balance when you deliver the blow, you're in deep poo-poo) and the effect of your technique on your opponent is minimized. A flawed stance will also prevent you from generating maximum power when you execute your technique.

Footwork usually involves moving from one stance (including a fighting stance) to another. I'm not talking about the bouncy-bounce type of thing that is often seen in competition; in my opinion, that sort of thing is near suicidal if you're pitted against a real fighter who has a well-developed sense of timing. Footwork should be light and agile but also balanced and firm. If you can't stop on a dime or change direction almost instantaneously, you need more work. Routines for this are shown in my book, MARTIAL MANEUVERS.

If your footwork and stances are properly refined, then you can become a highly mobile weapons platform. Without these things you're simply easy prey. It's well to remember that gong-fu, karate, and taekwondo were originally created as highly sophisticated forms of hand-to-hand combat rather than sports. Boxing is a sport (although it can be effective in self-defense) and yet, great emphasis is placed on footwork so that the opponent cannot easily strike you and win the match. How much more important is footwork and stance when your life hangs in the balance!

REAL TECHNIQUE

 

REAL TECHNIQUE

By Phillip Starr

Many years ago, I was most fortunate in being able to spend some time training under the legendary karate master, Hidetaka Nishiyama. During that time, I was witness to his high skill and I realized the meaning of "real technique."

Master Nishiyama (then about 65 years old) demonstrated a very basic timing exercise. As my friend, Mr. Chris Smaby (who was then a 5th dan and is now an 8th dan), attacked with a punch, Nishiyama sensei would easily slap it away with the palm-heel of one hand a deliver a sharp reverse punch with the other.

The master's punches barely slapped Chris's chest, never even jolting him. They were quick and crisp, perfectly controlled. After perhaps a dozens such exchanges, Nishiyama sensei enjoined us to practice the exercise with a partner.

Later, we headed to the locker room to get dressed and head out to lunch. I noticed Chris's forearms. Every place where the master had slapped his arm (to deflect his thrust), the blood vessels just under the skin had exploded! The skin was not reddened or bruised... but the marks were very clear. Chris quickly removed his jacket and looked at his chest, where Nishiyama sensei had lightly slapped him with his punches. “Oh, my God!”, he said as he examined the spots where the blood vessels had burst just underneath the skin. “Another inch of penetration and my lungs would have exploded!”

This was real karate technique. There was no visible show of brute force; no shouting or grunting or “umph”... just a quick, sharp punch. But each punch had been perfect. His body structure, alignment, everything had been perfect. He exerted no great amount of force. He'd simply executed a quick, crisp movement, But it was a perfect movement. It was then that I truly grasped the essence of a saying in the (internal) martial arts of China:

“Correct boxing is like taking a walk.
Striking an enemy is like snapping your fingers.”

THE REAL KIAI

 by Phillip Starr

Ask almost anyone involved in the Japanese or Okinawan martial arts about the kiai and what it is, and you'll likely get several answers:

1. It's a loud shout.

That's very good, but is that it? I mean, WHY do you shout? Are you scared or what?

2. It's a shout that helps you tighten up your abdominal muscles, thereby making your technique more powerful....

Well, that's a better answer than #1 but it's still incomplete. Simply tightening the abdominals won't necessarily make your technique any stronger but it'll make you look more attractive if you're wearing Spandex.

Actually - and you all should already know this - tightening the abdominal muscles inwards, which is what most people do when they contract these muscles, actually separates upper and lower body strength. This makes your technique weaker.

There are muscle connections that run between the upper and lower body and when you exhale and contract the abdominals inwards, those connections go slack. This means that if you're striking with an upper body technique, your power is restricted to the upper body; you cannot utilize the power of the your lower body.

If you're using a kicking technique, you cannot utilize the power of your upper body. You can only employ the power of your leg and, to some degree, your hips.

Ideally, the abdominals are not powerfully contracted when you execute your technique. By using reverse breathing (which I've written about in earlier articles) the abdominals are tightened somewhat , but without contracting them inwards. This unites the strength of the upper and lower body, allowing you to unify and strike with your whole body.

But you don't have to shout to do it.

3. It's a shout that scares the bejeezus out've your opponent.

That's a good answer, too. A sudden, unexpected, powerful noise shocks the nervous system. This can temporarily "stun" your opponent, leaving him momentarily helpless and unable to defend himself. Simple as this sounds, it actually requires considerable practice.

Most martial arts practitioners tend to kind of "squeak" when they kiai. Some even say an actual word. I've actually been in schools where students were taught to say the word "ki-ai!" when they kiai...!! Pretty weird.

Not only that, but many martial arts enthusiasts shout with their throats. After two or three shouts, they can hardly speak. This is an indication that their technique is wrong. The true shout comes from the lower belly and is a guttural sound. If it's done properly you should be able to deliver an explosive shout and then continue talking without any problems or discomfort.

But that's not the right answer, either.

You may have noticed that I've not been using the Chinese term for shouting, qi-he (pronounced "chee-huh"). There's a reason for that. Calm your toot.

The correct answer is that the true kiai doesn't necessarily have anything to do with making a noise. The word kiai means roughly, "spirit meeting." This doesn't mean that you're about to begin a seance or play with a ouija board...it infers that the kiai is a moment when the body, mind, and spirit are brought together, fused together for a single instant. This fusion allows you to fully focus your entire being on the task at hand.

The Chinese phrase, qi-he, means roughly "energy/spirit shout" and this seems (to me) to be more concerned with the exterior function of the kiai...the shout itself. Those of you who have gone to the trouble of purchasing my book, “MARTIAL MANEUVERS”, will recall a chapter which is devoted to the technique of shouting.

But enough of that.

The Japanese phrasing is, I think, a better translation of what the true kiai should be. It's much more than just mere physical technique, much more than just shouting.

There is a story about a young American karateka (karate practitioner) and his sensei (teacher) that really drives the point home. The student was practicing a particular kata (form) and when he had completed the set, his teacher informed him that he had forgotten the kiai.

The student was confused; this kata had no kiai in it. He reminded his sensei of this fact but his teacher was having none of it. The true kiai, his teacher explained, doesn't necessarily involve noise. It is a merging of the entire being - body, mind, and spirit - for a split second during the execution of an ending technique (when one theoretically destroys the enemy). It is more of a spiritual/mental thing than a physical thing. It's more than simply shouting and making a loud noise. It is a fusion and focusing of one's being on the task at hand (destroying the opponent).

This fusion is felt more than it is heard and a good teacher can quickly determine if it has been applied to a particular technique. In this student's case, it hadn't.

All forms contain the kiai but only a few forms require you to make a noise when you do it.

CORRECT BREATHING

 by Phillip Starr

Boring as it may be to practice, breathing is key to improving martial arts performance and effectiveness. Correct breathing can make a strong technique even stronger, enhance one's “root” to the ground (which adds impetus the one's technique), calm your mind and spirit, help increase the velocity of technique and body movement...everything that you WANT in your practice of martial arts. But there's correct breathing and then there's correct breathing.

Most martial arts teachers teach their pupils to exhale (usually forcefully) when executing a powerful technique. What they generally teach is a strong form of what is known as “normal” or “post-birth” breathing; as the breath is exhaled, the abdomen is powerfully contracted and thus, hardened. This works well for those who are already quite physically powerful, but there is another method that will turn a weaker person's technique into an explosive and very powerful force; moreso than that of a physically stronger practitioner. It is known as “reverse breathing” (it is described in detail in my books, MARTIAL MECHANICS and DEVELOPING JIN).

Initially developed by Taoists in ancient China, this breathing technique was considered a great secret for generations but as secrets tend to do, it escaped from its cage and it became fairly well-known. Many, many martial arts devotees practiced it as a part of their regular curriculum but because it isn't especially exciting to practice, it was gradually forgotten.

It was even taught to the Okinawans who learned forms of gong-fu from their Chinese neighbors. I have long suspected that the original form(s) of Sanchin kata utilized this form of breathing rather than the “post-birth” method of breathing that has been in use for some time now.

If one needs to exert a lot of strength for any given task – lifting, pushing, or pulling – reverse breathing should be employed. It will double your strength the first time you do it. Bear in mind that in cases of lifting, pulling, or pushing heavy objects, the exhalation needs to be rather long. But in the case of delivering a strong blow, the exhalation should be very short and sharp, with 2/3 of your breath being exhaled (1/3 is kept in reserve). The faster you can get the air out, the better; the longer it takes you to exhale, the more of a “push” effect will be generated.

If you're sucking wind after a strenuous exercise, 3-4 reverse breaths will immediately stabilize your breathing. A similar number of strong reverse breaths can reduce the pain of being struck in the testicles.

Using the “normal” or “post-birth” form of breathing actually separates the upper and lower body so that your punch is made with mainly the strength of your arm and shoulder and your kick uses the strength of only the leg. There are muscle connections that run between the upper and lower body and “post-birth” breathing causes them to go somewhat slack. However, reverse breathing brings them together so that the strength of the whole body can be brought to bear on the task at hand.

Reverse breathing was once one of the great secrets of martial arts. Because it's been forgotten for so long, it is once again secret...until now.

PERFORM OR PRACTICE?

 By Phillip Starr

Do you perform or practice your forms? There's a considerable difference. If you PRACTICE your form you will study it, taste it, pay attention to its rhythms, spirit, and the types of power that are issued. And that's not all of it; there's the breakdown, the “bunkai” that teaches you so many things. You strive to polish every aspect of it, including those that aren't readily noticeable to an observer. The object is to learn from it; to perfect it and in doing so, to strive for self-perfection. You endeavor to carry on the tradition and the lineage from which it is derived. This is real martial art.

To PERFORM your form is to do it so that LOOKS outwardly impressive. Your primary interest is in developing aesthetic appeal, especially in the competition arena. The objective is to look good and take home the trophies, championship cash, or whatever. If one or more movements need to be “adjusted” or changed completely to achieve the desired result, so be it. This is a far, far cry from genuine martial arts.

Unfortunately, more and more wannabe martial artists seek only to PERFORM their form(s) well. It's all about cosmetics. Many of them never consider what they're doing – tossing away many generations of knowledge, development, and tradition. Their forms have no roots, no souls.

ONE FORM FOR HOW LONG?

 By Phillip Starr

Years ago, I happened upon a book authored by an English karateka named Bill Burgar. A practitioner of Shotokan karate, he decided to practice one form daily for FIVE YEARS. Daily. Every day. Several times each day (like ten repetitions). He kept up his usual practice of the other forms, but he didn't practice them all every day; after all, Shotokan utilizes 21 forms, I believe. But his one chosen kata was practiced every day.

He had read that the old Okinawan masters would typically specialize in only one or two forms. That's not to say that they didn't know several others, but each instructor favored and subsequently specialized in just one or two, which they'd practice every day. He thought he'd give it a whirl.

This is in line with the Chinese gong-fu masters of old; they would specialize in just one or two forms, which they'd study assiduously every day.

At first his practice was rather enjoyable but after a time, it became very boring. To really focus on what he was doing (instead of just “walking through” the movements was more than a little difficult at times. As an escape from the boredom he'd sometimes alter the tempo of the kata, doing it very slowly one time and then full-tilt boogie the next. He'd begin by facing a corner of the room instead of a flat wall (it's tougher than you might think; try it!). He'd practice with his eyes shut or in a darkened room.

It was a struggle but he stuck with his plan and he gradually began to discover facets of his kata that he'd never seen or even suspected previously. He came to understand that each form is a complete fighting system/method in its own right. He discovered subtle rhythms and timings that he'd never noticed before and it brought him to a much clearer understanding of the importance of kata practice.

To engage in this kind of training and not succumb to the daily tedium requires a strong spirit and a sharp mind. Are you up for it?

MODERN KARATE AND THE SCAP BAN

 by Phillip Starr

This is for the karateka out there who (under their breaths) curse whoever is responsible for the Japanese forms featuring deep and long stances, such as we see in contemporary Shotokan, Wado-ryu, and a host of other similar styles. Well, the individual who's ultimately responsible is Gen. Douglas MacArthur!! Surprised? Well, here's the story behind it....

After Japan's surrender in 1945 at the end of WWII, MacArthur was appointed Supreme Commander for the Allied Powers (SCAP) during the subsequent U.S. occupation of the island nation. Fearing a resurgence of patriotism and re-emergence of bushido (“the way/code of the warrior”), one of the general's first actions was to examine the various “patriotic” activities, especially those that promoted bushido. If they were viewed as potentially dangerous (to the troops occupying the island), they were banned. This became known as the “SCAP ban.”

Judo, all forms of jujutsu, and kendo were among the first to be outlawed. All others forms of budo (martial ways) were gradually banned as well.

Now, karate was a relative newcomer to Japan, having been introduced by Gichin Funakoshi (from Okinawa) in 1923. The forms of old Okinawan karate were heavily influenced by southern forms of gong-fu, so their stances were relatively short and high. This particularly suited the Okinawans, who practiced outside. Okinawa isn't known (by the Marines) as “The Rock” because the ground is flat and even. On the contrary, the ground is quite rocky, so using short, high stances and footwork is almost essential. And Gichin's karate (later named after his pen-name, “Shoto”, which he used when writing poetry...his school and style became known as Shotokan...”Shoto's School”) featured short high stances. Old film footage of him in his later years demonstrating kata shows this.

He had three sons, one of whom was named Gigo (said to be a “karate genius”) who had trained since the age of 12 to improve his health (he developed tuberculosis at the age of 7). Gigo (who would die of TB during 1945) saw what was happening with the SCAP ban and knew that karate would be on their list. He thereupon set out to deepen and lengthen karate's stances and after his famous father would correct a student's posture, Gigo would come up behind him and tell him that it was perfectly okay to lengthen his stance... I can just imagine the confusion in the classes!

When the military examiners stopped by the dojo (in one of Japan's foremost universities), Gigo informed them that this “karate” was not a form of fighting; it was a form of dancing!!! THAT'S why he wanted the stances lengthened – so the participants would look more graceful – like dancers. And the examiners bought his story! And so it was that the most lethal martial art was left alone and the people could continue to practice it!

And that's the rest of the story.

MIZU NO KOKORO

by Phillip Starr

 

Back when I trained in karate, my teacher mentioned the phrase, “mizu no kokoro”... This is a Japanese expression that means, “mind like water.” What exactly did he mean when he said this? Oddly enough, it was my gong-fu teacher, W. C. Chen, who explained it me.

“In a fight your mind must be still, like the smooth surface of water in a pond”, he said. It (the unbroken water) is like a mirror and will clearly reflect what is placed in front of it. Thoughts and emotions are like pebbles and stones tossed into the water; they cause ripples, which distort what you see.”

He told me that ANY emotion, anger as well as joy, can cause such ripples. Extreme anger or fear is akin to dropping a small boulder into the pond; they do more than just create ripples and subsequent distortions... they create WAVES that are almost blinding!

How is the mind to be calm during a frightening and/or very tense situation? The answer can be summed up in one word...TRAINING! Realistic, traditional training. Learning to breathe correctly and maintaining breath control under stress is also key. There are those who espouse the “lizard brain” theory, saying that in times of extreme stress we lose fine motor control and so on and on, ad nauseum. Let me state for the record that this undesirable effect is to be overcome through regular, repeated training. I know. I've been there. More than once. More than twice... If one does not train regularly or repeatedly, certainly the undesirable “lizard-brain” theory comes into play.