| "body"> | | | | Male on female assault is of course a different |
| Sports Karate vs. traditional fighting - is your | | | | issue with around 70% of attacks beginning with |
| Dojo's curriculum working these synergistically? | | | | a grab if one follows the statistics. So if a martial |
| Why each evolved the way they did and why | | | | arts school has the aim to focus on street |
| analysis makes them synergistic.o Does your dojo | | | | defense should females and males have different |
| have a check system (flow chart) for decision | | | | curriculums? |
| based training towards either dealing with an | | | | Returning now to modern Japanese fighting which |
| untrained attacker versus an elite karate athlete?o | | | | is based around point fighting - even if it is |
| Do you have a 1:1 link to your fighting training, | | | | considered to be impact oriented versus "tag |
| kata form and bunkai in a way which also relates | | | | oriented". Dojo training for the most part |
| to tournament kumite performance?o Do you | | | | presumes a strike as the lead technique. The |
| engage in the correct tournament fighting | | | | abbreviated flow chart of Figure 2 touches on |
| approach, or street fighting approach when | | | | some of the bullets that result from this scenario |
| training? | | | | and the training that therefore defines the art:a. |
| The recent evolution in sports karate and | | | | smaller hip actions (compared with Koryu |
| research into rejuvenating karate bunkai has | | | | discussed below)i. necessary due to the required |
| required schools to change training curriculums in | | | | speedii. rotational power sacrificed for speed, and |
| order to be correct and effective in their fighting. | | | | power also sacrificed for speed by keeping a |
| Embracing the old and the new Ways is a difficult | | | | constant body height (belt height) positionb. |
| but necessary challenge to make ones' karate a | | | | defined structure, techniques are simple |
| complete and educated empty handed fighting art. | | | | combinations (at least on the surface)i. extremely |
| Understanding why modern day karate evolved | | | | high repetition is practiced so create non-thought |
| (and realizing what was lost or gained) is a | | | | oriented muscle memory as no time to think |
| worthwhile journey. This article will overview | | | | exists (unlike a typical Koryu bunkai situation |
| some of the pros and cons of Dojo curriculum | | | | where a grapple/hold may give the combatant |
| approaches for empty handed fighting. It will | | | | time to evaluate options mentally)c. master of a |
| touch on: fighting practicality for a particular | | | | few techniques avoiding a "Jack of all trades" |
| approach, diversity of knowledge base and training | | | | approach.i. A very Japanese Zen path - take one |
| methods, a realistic check against why modern | | | | thing simplify it, understand it and practice it in |
| sport Karate differs compared to the traditional | | | | incredible depth. When one looks at the Japanese |
| koryu & kata (bunkai) ways (such koryu | | | | Budo arts they are rarely arts that encompass |
| styles include: various Okinawan arts, | | | | many domains. For example, archery, judo, |
| koryu-uchinadi, Daito-ryu, Matsushita Kushin Ryu, | | | | karate, kendo/iaido all only do one thing. They do |
| Araki-ryu). | | | | not diversify (or dilute) the skill set which would |
| Figure 1: see | | | | be more typical of some Okinawan or Chinese |
| Most of the world's Japanese karate community | | | | arts which have weapons, striking and grappling |
| has evolved to where it is because of:o a sports | | | | domains all built in to one style.ii. By focusing on |
| approach with ruleso starting a fight at distance | | | | just a few things one can truly understand |
| away from the opponento training methods that | | | | mastery (the "ura" vs. "omote" in Japanese |
| allow the masses to follow in a group classo use | | | | culture - touched on above in this article)iii. Leaving |
| of a very small range of techniques (as discussed | | | | out grappling and seizing (which we discuss in the |
| below approx. only 12 techniques or so are drilled | | | | advanced response (koryu section) one needs |
| in high frequency). | | | | about 3 to 4 years of training at 3 times per |
| The notion of keeping the curriculum to a small | | | | week for an hour or so to become somewhat |
| subset of fighting techniques represents some of | | | | competent at: |
| the benefits of one of Sun Tzu's "Art of War" | | | | 1. evade |
| strategic clauses, "avoid weakness by not dividing | | | | 2. block |
| the troops" i.e. do not become a "Jack of all | | | | 3. counteri.e. Black Belt |
| trades and master of none". The upside of this | | | | Modern sports physiology has merged with sports |
| approach is that mastering one sub category of | | | | karate to help that domain understand how to |
| fighting leads to understanding true core strength | | | | move faster, with more agility and powerfully. |
| which is not possible if studying a broad diversity | | | | However, the sports community has to be careful |
| of techniques. Hence Japanese styles keep the | | | | about stating these are modern findings. For |
| technique diversity very small, often even up to | | | | example, an often mentioned point these day by |
| the rank level 3rd dan, so that only once a true | | | | the sports karate community is the sports |
| understanding of real strength is reached in one | | | | physiology research that reveals that contraction |
| area the study of other techniques are explored. | | | | before expansion leads to a faster technique (in |
| The difference between superficial and deep | | | | karate achieved by moving in stance before |
| insight ("ura" and "omote" are the Japanese terms | | | | throwing a technique, or preceding one technique |
| used for this in the martial arts) is a key attribute | | | | with a movement that contracts the muscles to |
| of any Zen art. Modern day Japanese karate | | | | be used in a following technique). These are all real |
| dojo(s) who have revived their kata bunkai | | | | and great uses of sports physiology data but the |
| knowledge to encompass original applications now | | | | traditional karate arts have been talking about |
| have the complication of technique diversity | | | | contraction-expansion in technique delivery for |
| compared to modern approaches seeking | | | | 100s of years. This is one very good example of |
| excellence in just a core few techniques (given | | | | the old facilitating the new and highlights why one |
| that karate was adapted to the masses by the | | | | should educate themselves in its time proven |
| Japanese one can begin to see why the | | | | discoveries which are the basis of the art being |
| simplifications in curriculum began). | | | | practiced. |
| Real world fighting is not restricted by rules and | | | | Many argue than the evolution of sports karate |
| does not assume one starts at a distance from | | | | practitioners to fight from about 3 meters apart |
| at an opponent. In the street one does not know | | | | (up to 10 feet) is the result of age, talent, |
| the strategy or skill level an opponent may | | | | experience level and the rule based system. For |
| employ. Before karate entered Japan Kata | | | | example if starting so far apart makes so much |
| revolved around these self defense scenarios and | | | | sense to land a strike and protect oneself why |
| also included: | | | | does the very highly evolved technical and |
| - fluid, round and open hand techniques rather | | | | financial game of boxing not do the same? Being |
| than the rigid stiff bunkai often seen in Japan | | | | on the toes and moving has mobility and |
| which assumes a linear "karate style" punch as | | | | contraction expansion values, however, after all |
| the primary entry in to the application. | | | | when one looks at the situation if you strike |
| - kata motions are iconic representations of a | | | | someone from 3m away you had to |
| scenario not complete moves or descriptors. | | | | progressively more through the out of range 2 |
| Modern variants in particular often do not show | | | | meter and 1 meter mark - why not just start at |
| the various loosening techniques (head buts, spits | | | | the 2 meter mark and go from there giving your |
| and open hand slaps) that may comprise the full | | | | opponent less time to read an incoming attack? |
| application which are still practiced by certain | | | | The agility of young sports karate athletes allows |
| Koryu (old time/traditional) styles. | | | | them to do this and perhaps is a mechanism to |
| One can easily create a flow chart describing the | | | | overcome inadequacies in reading opponents and |
| possible scenarios (and the required skill sets to | | | | anticipation - attributes an older 5th dan with 20+ |
| deal with an opponent). For example, Figure 1 (also | | | | years of adult fighting may well have. However, |
| on in a free video form lecture) illustrates the | | | | so both the 25 year old elite sports karate-ka and |
| initial questions in a thorough analysis of training | | | | the 40 year old elite karate-ka simply address a |
| approaches to focus on one sub-category of | | | | similar issue with different ways given their skill |
| fighting or another to become an expert in that | | | | sets and physical capabilities. However, one can |
| domain rather than becoming a generalist in all | | | | continue to learn from the other to better |
| areas. Throughout this article an attempt is made | | | | understand the art of fighting and themselves. |
| to break down the needs to specialize in one area | | | | Many strategic combinations used in modern |
| or another and then relate that to expanding your | | | | tournament fighting can also be extrapolated from |
| own training over time, or creating focused | | | | good kata bunkai knowledge and such links |
| students. | | | | between the dojo practices of kata, stratgey and |
| Training philosophies that are" Jack of all trades" | | | | technique should be fostered in clubs but |
| vs. "specialists in a subset of fighting" are often | | | | unfortunately rarely is. |
| (but of course not always) seen more so in some | | | | Moving beyond just "block counter" |
| styles than others. For example, grouping and | | | | In discussing Koryu karate we now move to side |
| comparing Kung-Fu, Koryu Okinawan Karate or | | | | 2 of the flow diagram in Figure 2. The koryu |
| Tae Kwon Do reveals a "Jack of all trades" | | | | karate arts of Okinawa represent their fighting |
| approach compared to a modern Japanese | | | | approaches in kata with more of a one-to-one |
| Shotokan or Shito-Ryu approach which becomes | | | | match of form to application (unlike modern |
| highly proficient at a small set of techniques. | | | | Japanese karate where the forms are iconic and |
| Mainstream Japan's karate approach is at the least | | | | rarely represent the way they fight). These |
| related to the Japanese mainland mindset, its | | | | styles involve large hip actions, a larger variety of |
| sports nature and Japanese Zen arts as they are | | | | techniques, up and down motions to shift weight |
| practiced in Japan. Each of these variables | | | | (belt height) coordinated with hip rotation for |
| influence any art/skill base and have pros and | | | | power generation and often larger style motions |
| cons when it comes to critiquing a system. | | | | (not unlike what is often seen in Kung Fu). |
| To elaborate, as an example Shotokan dojo(s) | | | | Koryu is what we might call more classic street |
| often master a few techniques rather than a | | | | self defense as an approach - which has its |
| large diversity with only 15 or so regularly drilled | | | | drawback and advantages as a modern day art. |
| techniques (front fist, reverse punch, back fist, | | | | In these scenarios we have an untrained male |
| front kick, side kick, roundhouse kick, back kick, | | | | attacker (probably leading with a strike) and the |
| oizuki, foot sweep and just a few more are done | | | | series of responses is more complicated than that |
| in extremely high repetition in any given training | | | | of the Modern Japanese karate practitioner in that |
| class). In comparison Tae Kwon Do & Kung | | | | in now aims to involve seizing and sub-missing. |
| Fu dojo(s) have a very large variety of kicks | | | | The downside of this in terms of likely success is |
| compared to what one would see in a Japanese | | | | that the more complicated anything is the more |
| mainland Shotokan dojo and often more hand | | | | likely something will not pan out during the series |
| technique types that Japanese karate. The nature | | | | of necessary steps. Additionally the approach |
| of this article is not to state that one approach is | | | | requires someone to be far more skilled. One |
| better than another (as I do not believe that) but | | | | interpretation for this in karate dojo curriculums is |
| to awaken practitioners to the consequences of | | | | to focus (but not restrict) training for those up to |
| focusing one way or another in training and | | | | 2nd Dan to the modern Japanese approach rather |
| understanding the implications in terms of | | | | than including all the capture/grapple and |
| knowledge, or competency in a certain scenarios. | | | | submission techniques. This will not dilute an early |
| After many years of study in one quality art, or | | | | stage student and allow them to understand what |
| another, a good 5th Dan equivalent in any of the | | | | reaching excellence really means by being very |
| arts may be equally dangerous and will have | | | | focused. In some of our closely associated dojo(s) |
| situations they are best trained for. However, | | | | in the Traditional Japanese Karate Network we |
| there are often notable differences in the early | | | | have experimented with expanded kyu grade |
| stages of the paths up to 3rd Dan (or equivalent | | | | (colored belt) curriculums. The findings quickly |
| rank) in the given martial arts styles (again | | | | show that the core of students and strong basics |
| returning to technique diversity and even further | | | | suffer relative to other mainstream dojo. On the |
| spread by not limiting the curriculum to empty | | | | other hand black belts above 3rd have many |
| handed fighting but including weapons). | | | | benefits to reap. |
| Figure 2 (also located on begins with a simple | | | | One key difference after executing a capture |
| scenario involving an untrained attacker. Modern | | | | "Koryu" style (a kake uke following a given block |
| Japanese karate is designed for beginners to | | | | with whiplash effect tug) is that the following |
| quickly comprehend and has evolved into | | | | counter can use a much large degree of hip and |
| something the masses can handle (which in part | | | | body weight as the opponent for a brief is being |
| was forged by its introduction into schools in the | | | | controlled and is a fraction disoriented. That is to |
| early 1900s; see "Unante" authored by Sells 8th | | | | say the speed of the punch/counter can be less |
| dan, ISBN 0-910704-96-1). Consequently it | | | | than sports karate due to the circumstances |
| specializes in the following skills over a 3-4 year | | | | allowing maximal impact. |
| period: | | | | This approach requires far more skill and time in |
| 1. getting out of the way of an attacker (ashi | | | | training. Because of the diversity of technical |
| sabaki/tai sabaki) | | | | knowledge required it generally does not suit your |
| 2. blocking or receiving (uke) | | | | average person who just wants to practice 3 or |
| 3. countering | | | | 4 times a week for 1.5 hours. In fact most high |
| The above describes modern Japanese Karate, | | | | ranked black belts (3rd dan and above) will |
| the original version of the art encompassed more | | | | struggle to maintain proficiency of such a diverse |
| than this from the word go. However, an | | | | range of techniques to the "omote" level of |
| important thing to realize is that the most likely | | | | speed, innate response and technical insight given |
| scenario when a male is being attacked by an | | | | the demands of balancing everyday ;life, work |
| untrained male is that the lead technique will be a | | | | and training. |
| strike (as best stated by a website member of | | | | How does an organization maintain such a board |
| ours who had been a bouncer for 20 years, "just | | | | knowledge base with true insight into each |
| think of the bar fights you have witnessed and | | | | subcategory of fighting? |
| how the majority began - most of the time a | | | | One way to cope with the need of a karate |
| swinging punch began the event"). This makes | | | | style, or organization, to encompass each of the |
| karate the ideal art for this scenario. Further | | | | different segments of karate (e.g. sports, |
| evidence to suggest this is what will be attempted | | | | grappling, old school hard impact, kata, bunkai etc.) |
| to begin a "male vs. untrained male fight" is based | | | | at the "omote" level of understanding and |
| on at least the following data: | | | | execution is to balance the organization with |
| 1. Interviewing people (especially those exposed to | | | | instructors of specializing domains. This is not |
| bouncing in bars) as to what they recollect when | | | | unlike what the professional world does in training |
| they see a bar fight with 2 untrained males - | | | | people. For example, when ones needs a doctor |
| rarely is the lead a gab/grapple as untrained | | | | for a treatment different doctors exist for |
| people don't do this well and they hesitate to get | | | | specific illnesses domains (i.e. specialists) for |
| that close. Often when it goes to ground it is | | | | serious illness a "Jack of all trades" is not the |
| because someone:a. was hit downb. has lost | | | | answer. |
| balance evadingc. neither party could end the | | | | The link that bridges all these skill sets, or variants |
| situation quickly with a strike so it went to ground | | | | of karate is Kata and the extrapolation of it then |
| 2. Interestingly even when one reviews the full | | | | feeds out to each of the various sub categories |
| contact UFC fighting the early seasons of this | | | | of empty handed fighting. |
| sport showed that grappling predominated and | | | | As a final comment very few of us who practice |
| people were quick to surmise that "inevitably it will | | | | karate will ever use its physical content. |
| go to ground". However one must consider the | | | | Therefore, one's dojo should firstly focus on |
| following:a. after years of that sport now running | | | | character development and mental development |
| later analysis of the individuals in the first few | | | | as these are things we are challenged with every |
| seasons of the sport were more commonly true | | | | day in life - using your dojo training to develop |
| experts in grappling with very few true experts in | | | | skills you know you will use should be a first |
| strike fighting participatingb. as the seasons | | | | priority. |
| evolved in to a 3rd or 4th year the majority of | | | | A thank you to the key sensei who have |
| bouts ended not by "tap out" but by percussive | | | | contributed to my thoughts on the above topics: |
| impact i.e. a strike (as high as 70% of fights | | | | Sensei Sotokawa (Japan), Sensei Uetake (Japan), |
| ended from a strike technique in the multiple | | | | Sensei Morio Higaonna (Japan) Sensei John Sells |
| tapes we reviewed). This seemed to be for two | | | | (USA) Sensei John Bartholomay (USA), Sensei |
| reasons:i. more adept strike fighters got in to the | | | | Patrick McCarthy (Australia), Sensei Victor Young |
| leagueii. the strike fighters did not enter unless | | | | (USA), Sensei Greg Story (Japan). Visits to a |
| they had some basic competency in grappling | | | | variety of dojo in Okinawa and Japan. |
| (unlike their pre-cursors)c. the gloves do take | | | | A special thanks to Sensei John Bartholomay |
| some of the edge off a blow compared to bare | | | | (USA)and Sensei Victor Young (USA) acting as |
| hands. | | | | editors on this article. |
| Figure 2: | | | | |