Showing posts with label Fundamentals. Show all posts
Showing posts with label Fundamentals. Show all posts

Friday, August 12, 2011

Seisan-dachi

Picture this: You're a kyu belt in a Chito-ryu dojo, and one day you decide to take an extended trip (go to college) to another city (half-way across the country). You really want to continue your martial arts training, but are unable to locate a Chito-ryu school in the area, so you evaluate the many schools available to you from the intensive research you did (the Yellow Pages) and pick a new dojo based on many important criteria; price (you are a student after all).

Shortly after joining, you're at a work-out, and a senior student in the club has offered to help you learn a new kata.

Sempei: "Zenkutsu-dachi!"

You: "What?"

Sempei: "Zenkutsu-dachi! Did your old school not teach you zenkutsu-dachi? Couldn't have been much of a school!" *

You drop into seisan-dachi, and get a strange look from the sempei.

Sempei: "Hangetsu-dachi is not zenkutsu-dachi. Also, that's a terrible hangetsu-dachi."

You: "What am I doing wrong with this stance? Can you give me a hand with hangetsu-dachi?"

Sempei corrects, fine-tunes and corrects again.

You: "Is this stance used in some kata?"

Sempei: "You've never heard of Hangetsu? Are we going to have to re-teach you everything?" *

You: "Apparently so. Can we go over Hangetsu?"

Sempei: "You're not ready for it, so I'll just show you."

Sempei performs Hangetsu.

You: "Hey, that actually looks a lot like Seisan."

DING! And suddenly, the world makes a bit more sense.

OK. I admit it. That story was about me.

Let's fast-forward twenty-ish years.  I'm back at a Chito-ryu school (actually, the same one I moved away from), and I am reviewing all of the kata I learned many (many) years ago with Sensei. We get to Seisan, and my mind goes back to Hangetsu, and I think "if Hangetsu-dachi originated from Hangetsu, then Seisan-dachi must have originated from Seisan. Since Seisan-dachi is not as hard on the body as Zenkutsu-dachi, and offers smoother transitions, that must be the reason why it is the primary stance in Chito-ryu katas.".

DING! And suddenly, the world makes a even more sense.

Now, seisan-dachi has gone through some refinement in the past several years, and no longer resembles hangetsu-dachi as closely as it used to. Modern seisan-dachi is more of a cross between hangetsu-dachi and zenkutsu-dachi.  Let's take a closer look.

Zenkutsu-dachi
Width: three fists or shoulder width on inside of feet
Depth: two full foot spans from toe of back foot to heel of front foot.
Weight: 60% front, 40% back

Many styles use zenkutsu-dachi, with only slight variations seen between those styles.  Zenkutsu-dachi is a deep forward stance where the back leg is straight, and the front leg is bent at the knee at approximately 45 degrees. Some styles prefer the front foot to be turned slightly inward, some styles prefer the center line of the foot to be pointing straight ahead, and some styles want the inside edge of the front foot to be straight.  The key for this stance is the front shin should be perpendicular to the ground.  In order to grip the ground better, shime (inward tension) is employed on the front leg. Shotokan turns the back foot almost 90 degrees outwards to make it easier to deepen the stance.

Hangetsu-dachi
Width: shoulder width on inside of feet
Depth: one full foot span from toe of back foot to heel of front foot.
Weight: 50% front, 50% back

Hangetsu-dachi (Half Moon stance) gets its name from the Shotokan kata Hangetsu, which, in case you are unaware, is the "Shotokan-ized" Seisan (Shuri, not Naha).  Hangetsu-dachi is a longer sanchin-dachi, but the back foot is turned towards the front, rather than turned inward.  The weight distribution of hangetsu-dachi is 50% (just like sanchin-dachi), and the stance employs shime (inward tension) and shibori (twisting) on both the front and back legs.




Seisan-dachi
Width: shoulder width on inside of feet
Depth: one full foot span from toe of back foot to heel of front foot.
Weight: 60% front, 40% back

Seisan-dachi is one of the signature stances used in Chito-ryu, and is derived from hangetsu-dachi, and was actually named hangetsu-dachi before Soke Sensei renamed it to seisan-dachi several years ago (if anyone knows the approximate date, please let me know). Like hangetsu-dachi, shime and shibori are employed on both the front and back legs to solidify the stance.  The key difference is that the weight is more forward than hangetsu-dachi, with approximately 60% of the weight on the front foot, and the outside edge of the front foot is pointing straight ahead.  The back leg is not straight like zenkutsu-dachi, but rather has a slight bend to it.  In order to ensure you are in a proper seisan-dachi, sink into the stance, and then look down at your knee.  You should be able to just see the tip of the toenail on your big toe over your knee. That is the perfect angle for your stance, and from there, the angle of our knee will not change when transitioning to shiko-dachi, kosa-dachi, uchi-hachiji-dachi or niko-ashi-dachi.  This ensures that there is little to no vertical head movement during a transition.  There are other techniques to ensuring a solid seisan-dachi. I'll leave that as  a conversation you should have with your Sensei.

I find that a lot of karatekas (especially younger ones) pay far too little attention to their stances.  I know that I have suffered from that in the past (OK, recent past),  but if you pay attention to the stance and ensure the stance is correct (shime, shibori, other stuff you should already know, etc), after a while, sinking into a correct stance comes natural, and you just need to worry about your technique. The added bonus is, with a solid stance, the technique is stronger as well.


For a little bit of history about stances in Chito-ryu, I recommend reading this Ryushu Newsletter from the Ryusei Karate-do website, where I learned some of the above material.

* The attitude that most of the students had towards other schools and styles was one of the primary reasons why I left the dojo (and martial arts for twenty years), but that's another story.

Saturday, June 25, 2011

Breathe

When I first started taking karate classes in my teens, the exercise that I found to be the most beneficial was the breathing and meditation at the end of class (mokuso). Now, I find that the breathing exercises are missing from classes.  I can understand why certain things are left out, especially when there are fifty kids under the age of 10 in the class, and getting some of them to "reflect" on anything would be an exercise in futility.

Mokuso (Meditation) was typically performed at the conclusion of the class, and allowed the students to practice deep breathing exercises which helped calm the mind, relax the muscles and improve circulation among the internal organs. It also helped the student learn to focus, as they were directed to focus on their inhaling and exhaling, and push everything else from their minds.

Now, just because we don't do it in class, doesn't mean that it's not an important part of our Martial Arts training.  As a practitioner of Karate, proper breathing is as much a part of the art as proper stances, or the hikite; it's more of an afterthought at the beginning, but when put to proper use, it adds so much to the technique. Karate (or any Martial Art for that matter) helps to improve the health of the practitioners, and breathing exercises help to facilitate that.

In order to help you work on proper breathing techniques, O'Sensei gave us three katas; Shime no dosa (actually a kihon kata), Niseshi and Sanchin. All three have portions that are to be performed under tension and with emphasis on the breathing. Now just because these breathing exercises are within a kata does not mean they don't have any similarity to the breathing exercises practiced during mokuso.

While hunting around for some background information on breathing techniques for martial arts, I happened across a fantastic article that detailed EVERYTHING I wanted to say, and more. So, here is an article by Aaron Hoopes from Shotokan Karate Magazine from August 2002. Many thanks to Mr. Hoopes for allowing me to re-print this.

Breathing Training for Martial Artists

by Aaron Hoopes

Shotokan Karate Magazine - August 2002
Re-printed with permission

One of the most important aspects of martial arts training is proper breathing. However, for practitioners of hard styles, effective breathing methods are often left to the students to figure out on their own. The central principle of breathing is of internal cleansing, getting rid of that which is old, worn out, and stale, and exchanging it for what is new, fresh, and energized. During inhalation we are bringing in fresh oxygen, nutrients, and vital energy. During exhalation we are expelling carbon dioxide and other toxins and poisons that we produce or collect in our daily lives.

There are a large number of breathing exercises. Some are simple and easy while others require years of practice. I will discuss the five I believe to be the most effective for the martial artists who are beginning to explore the potential of proper breathing. First, we will describe the two methods which are best suited for becoming aware of the body: Attention Breathing and Abdominal Breathing. We will then go on to the more advanced exercises of Reverse Abdominal Breathing and Nose Panting. Finally we will introduce The Complete Breath which is more challenging and requires increased concentration and practice.

In practicing these breathing exercises it is important to concentrate on breathing through the nose, both during inhalation and exhalation. Of course when training in the martial arts, breathing strictly through the nose is unrealistic. In fact it is physically impossible since the body's demand for oxygen increases too fast for the nose to handle the flow. However, while doing these specific exercises it is important. Think of it as a closed circuit within the body, breathing in through the nose and out through the nose. If you open your mouth, you break the circuit and the energy dissipates.

Attention Breathing

It is important to realize that people breathe differently. Children tend to breathe with their abdomen, while middle-aged people breathe with their stomachs, and older people often breathe mainly with their upper chests. But the way people breathe is also affected by other factors, emotions, for instance, or ill health. Someone who is excited will breathe faster and shallower than someone who is sad. Someone who is calm will breathe slowly and deeply. Someone out of shape may be panting after a short walk or climbing some stairs.

Attention breathing, as its name implies, is about focusing your awareness on the natural rhythm of your breath, not to control it but simply to observe it as a bodily function. Your awareness is the instrument which enables you to shift from unconscious breathing to conscious, or dynamic, breathing. This shift is accomplished by concentrating on the feeling of the body as it breathes. Feel the air as it enters your nostrils. Follow it as it flows into the lungs and notice how deeply it reaches into them. Maintain your full attention and follow it back up as you exhale. Feel the used air as it is expelled from the body.

Gradually, as you become aware of the feeling of the breath it should become smoother and more relaxed. But don’t try to change your breathing during Attention Breathing. Your aim is to observe your unconscious breathing habits so you will be able to feel the difference when you actually begin dynamic breathing. If you find your mind wandering, simply catch yourself and return to the breath. Try to perform Attention Breathing for five minutes each day at the same time of day, perhaps in the morning when you wake up or at night when you are about to go to bed. As you become used to it, see if you can focus on your breath at other times throughout the day. Eventually the awareness of the breath and your breathing should become an integral part of your life.

Abdominal Breathing

Once you become aware of your breathing, it is time to begin modifying your breathing habits. Abdominal breathing is by far the best breathing method for people beginning to study breathing exercises. Regular practice brings quick, tangible results. It is easy to learn and difficult to do incorrectly. In addition, Abdominal Breathing has the benefit of invigorating the abdominal muscles. Their constant movement massages the internal organs and increases blood circulation.

The basic idea is simple: fill the lungs from the bottom up. Abdominal Breathing is about filling the lungs completely. Most people breathe using only their chests or the top half of their lungs. Abdominal Breathing seeks to expand lung capacity by starting from the lowest part of the lungs. The focus, therefore, is on the abdomen, an area roughly three finger widths below the navel. Known as the hypogastrium in Western medical terminology, this area is called the dan tien in Chinese and hara in Japanese. This point is the focal point of Abdominal Breathing.

Start in whichever stance or posture you feel most comfortable. Inhale through the nose. Expand the abdomen gradually by lightly pushing out and down as the oxygen fills the lower lung cavity. Focus the mind on expanding the abdominal area. Don’t be overanxious and forcefully protrude the abdominal wall. Instead, try to achieve a gentle and smooth expansion in time with the inhalation. When the abdomen is full, exhale through the nose and pull the abdomen gently back into the body, compressing the lungs from the bottom. With each inhalation the abdomen expands, with each exhalation the abdomen contracts. It is important to remember that you should not expand or contract your chest; instead, feel as if you are drawing the air deep into the lower part of your body. Repeat for ten cycles of inhalation and exhalation, filling to maximum capacity and emptying completely with each breath.

Reverse Abdominal Breathing

Reverse Abdominal Breathing is more difficult than Abdominal Breathing simply because it reverses the natural flow of the breath. Reverse Abdominal Breathing is a breathing method best suited for those who study the martial arts since it concentrates focus on the hara during exhalation. Regular practice strengthens the abdominal muscles and makes breathing naturally strong. Try blowing up a balloon while keeping one hand on your abdomen. As you blow out, your abdomen naturally expands instead of contracting. The same is true if you are trying to push a car that has run out of gas. In order to express the power you are putting into the act, you exhale while pushing out. Reverse Abdominal Breathing is a breathing method which tends to infuse the breather with power.

Again, start in whichever stance or posture you feel most comfortable. Inhale through the nose. Slowly draw the abdomen in and up. The upper chest will naturally expand as oxygen fills your lungs. As you inhale, contract the muscles of your perineum. The perineum is the area between the anus and the lower edge of the pubis at the front of the pelvis. The central point of the perineum is called the huiyin in Chinese and is the focal point for Reverse Abdominal Breathing. By contracting and pulling up the huiyin you are able to concentrate on the abdominal area. Again, don’t be overanxious and forcefully squeeze the abdomen. Instead, focus on keeping a smooth and relaxed motion. When the lungs are full, exhale through the nose, release the huiyin, and push the abdomen out and down. Repeat for ten cycles of inhalation and exhalation, filling the lungs to maximum capacity and emptying them out completely with each breath.

Nose Panting

Breathing through the nose is of the utmost importance when practicing breathing exercises. The nose has a number of defense mechanisms that prevent impurities and extremely cold air from entering the body. First, a screen of nose hairs trap dust and other particles that could injure the lungs if we breathe through the mouth. Next, there is a long passage lined with mucus membranes, where excessively cool air is warmed and very fine dust particles that escaped the hair screen are caught. Finally, in the inner nose are glands which fight off any bacteria that may have slipped through the other defenses. The inner nose also contains the olfactory organ that gives us our sense of smell, which can detect poisonous fumes that could damage our health if we were to breathe them.

The Nose Pant is a great exercise for charging yourself up with energy if you feel sleepy or for releasing stress any time during the day. Imagine that you are blowing a piece of dust out of your nose by sharply puffing out through the nostrils. This is immediately followed by an equally sharp intake of air through the nose. This in-and-out ventilation should be repeated in rapid succession ten times. As you become comfortable with the exercise, increase the number of repetitions. When beginning, just concentrate on the nose and upper chest when breathing, but as you progress try to focus on the abdomen. Abdominal Nose Panting consists of contracting the abdomen as you puff out. Reverse Abdominal Nose Panting expands the abdomen on the puff out. After completing a session of Nose Panting, always follow with a couple of deep slow breaths to calm the body down.

The Complete Breath

The Complete Breath is a dynamic breathing exercise that is both simple and complex. Regular practice expands lung capacity, which, in turn, slows down unconscious breathing and makes it smoother and more regular. In addition, The Complete Breath maximizes oxygen intake and enables oxygen-rich blood to flow to the extremities. It also cleans and invigorates the lungs.

In the beginning it is best if The Complete Breath is practiced from a lying-down posture so maximum concentration can be placed on the exercise itself, which consists of four separate aspects: inhalation, retention, exhalation, and suspension.

  • Inhalation - Inhale through the nose. Expand the lower abdomen, pushing out and down, just as if you were starting Abdominal Breathing. Once the abdomen is full, continue inhaling and expand the chest, filling the upper lungs. Raise the collarbone and shoulders as you continue inhaling. Fill the throat and the nose. Stop.
  • Retention - Hold the breath in. Bring your attention to the fullness of the body. Feel the expansion circulating the oxygen-rich blood throughout the body. Continue to hold the breath in for a count of ten.
  • Exhalation - Exhale through the nose. Contract the lower abdomen pushing in and up. Continue to exhale by squeezing the air from the lungs and chest. Lower the collarbone and shoulders. Blow the air from your throat and nose. Empty it all out. Stop.
  • Suspension - Hold the breath out. Bring your attention to the emptiness of the body. Feel your body like an empty balloon waiting to be filled. Continue to suspend breathing for a count of ten.
  • Repeat - On the next inhalation don’t gasp for air. Calmly and smoothly inhale just as before. Feel the air reaching far beyond your abdomen, filling every corner of your body like an expanding balloon. Notice the sensation of your body as the new oxygen is brought in.

Do the complete set five or ten times each day.

The purpose of breathing exercises is to enable you to bring awareness to your breathing. When you are aware of your breathing you can use it to maximum effectiveness. The change from unconscious to conscious breathing is accomplished by thinking about your breathing and becoming aware of your own body. Most of our behavior is unconscious. We walk around in our bodies, rarely noticing how they feel unless there is pain. Seldom do we consciously think of the body as feeling good. Feeling good shouldn’t be an absence of pain. It should be an invigorated, energetic state where you are comfortable and happy in your body. Becoming aware of your breath is a way to reach that feeling. Expanding your breathing ability is a way of extending that feeling.

Try to become more aware of your breathing during training and at other times. Take deeper breaths. Do regular Abdominal Breathing. If you feel yourself getting tense or angry, do some Attention Breathing and notice how your feelings change. If you are bored or sleepy, do some Nose Panting to re-energize yourself. No matter what you are doing, breathe. Make conscious dynamic breathing a regular part of your life and you will find it naturally benefits your martial arts training.

Tuesday, May 10, 2011

Kuzushi: Where did my stance go?

This article was originally posted by me at okiblog.com. I highly recommend heading over there if you are interested in reading some great material about Okinawan Karate.

The term "Kuzushi" tends to confuse a few students at our club. I hear a few people talk about how you have to "break your opponents kuzushi before you can complete the technique.". Let's get the definition of kuzushi out of the way first, shall we?
Kuzushi - the point at which the stability of the stance is compromised, where the centre of balance is pushed to the point that requires movement in order to regain proper balance.
There are two points one should focus on in order to gain kuzushi on an opponent; the hips and the shoulders. The easiest way to disrupt these points is to crowd your opponent. Another method is to drive your opponent into the direction of least stability. I'm going to use some techniques from Juniko as examples.

Crowding

The key to gaining kuzushi when crowding your opponent is to use your stance and technique against theirs. In Juniko, the eighth technique is the perfect example of this, as shown below beginning at 0:47.


  1. Attacker stands in hidari seisan-dachi, chudan kamae.
  2. Attacker performs migi oi-zuki.
  3. Defender steps back into hidari seisan-dachi and blocks with a heishu-uke.
  4. Defender steps forward into migi seisan-dachi, wraps his (or her) left arm around the punching arm of the attacker and shoots right hand past attackers neck over their left shoulder. At this point, the attacker and defender should be hip to hip. When stepping into seisan-dachi, the defender's right thigh pushes against the right thigh of the attacker, twisting their hips and pushing their hips to their left. Depending on the height of the people involved, this could even lead to the attackers right foot leaving the ground. This is the point of kuzushi. The attackers stance has been compromised, and unless they move, they are unable to maintain stability.
  5. Defender transitions their back foot into shiko-dachi and guides the attacker over their front leg for the take-down. Since the defender has gained kuzushi, there should be no effort required to take the attacker down.
Driving

Figure 1: Seisan-Dachi
Figure 1: Seisan-Dachi
The other method of gaining kuzushi is to drive your opponent in the direction of least stability. Each stance has it's strong points and weak points, and it is of major importance that the student understands each. For instance, seisan-dachi (Figure 1) has strong stability forewards and backwards, as well as to each side. The weak point is at 45 degrees to the left or right (depending on which leg is forward) behind the opponent.

Figure 2: Shiko-Dachi
Figure 2: Shiko-Dachi

With a shiko-dachi (Figure 2), the stance is very strong along the direction of the stance, but the weak points are at the front or back of the person.

Performing the stances with the correct weight distribution, correct angle of the knees, correct alignment of the feet, should reduce the size of the weak points in the stances, but will not eliminate them.

The finer details of stances are a whole other topic. I'll cover them at some time in the near future.




Knowing this, let's take a look at Juniko technique number twelve (above video, at 1:18).
  1. Attacker stands in hidari seisan-dachi, chudan kamae.
  2. Attacker performs migi oi-zuki.
  3. Defender steps back into hidari kosa-dachi and blocks with a migi heishu-uke.
  4. Defender grabs the right wrist of the attacker with their right hand, steps forward into migi seisan-dachi and drives the attacker's wrist back behind them while applying torque to the wrist. This drives the attacker's elbow up and twists their shoulders towards the weak point in their stance. Notice the front foot of the attacker in the video. This is the point of kuzushi. The attackers stance has been compromised, and once again, unless they move, they are unable to maintain stability.
  5. Defender transitions their back foot into shiko-dachi and pushes the attacker's hand down to the floor behind the attacker's back, which is the weakest point of the stance. The attacker is pulled over the defender's front leg.
Juniko is filled with examples of gaining kuzushi on an opponent, as are most of the goshin-jitsu techniques learned in Chito-ryu. Performing these techniques correctly takes a lot of practice. Best method is to perform them slow ... a lot. After a while, the pace can be increases and eventually perform them at full speed.