“You must be deadly serious in training. When I say that, I do not mean that you should be reasonably diligent or moderately in earnest. I mean that your opponent must always be present in your mind, whether you sit or stand or walk or raise your arms…
“You may train for a long, long time, but if you merely move your hands and feet and jump up and down like a puppet, learning karate is not very different from learning to dance.”
Gichin Funakoshi
I’ve learned many forms (kata in Japanese, poomse in Korean) during my years in the martial arts. Most of the forms are lost to me now. It takes them only a few months to fade; a year to completely vanish as useful exercises.
I practice my Neko Ryu forms every week; rotating them with other drills. It’s my intent to keep these forms always. I think forms are quickly forgotten because people fail to visualize a realistic opponent in every phase of the form.
My early training in Tae Kwan Do and Tang Soo Do was a mixture of forms, drills and sparring. There’s no problem visualizing the opponent when sparring against a live person. He stands before you. In sparring, the problem is maintaining good technique in the midst of competitive stress.
Visualization in drills is a mixed bag. Some drills use a live partner, others use a striking bag or target, and others use no tangible resistance. The last group makes it easy to “merely move your hands and feet and jump up and down like a puppet”.
Judo kata are performed with a live partner. Not surprisingly, I remember them better than the Tae Kwan Do and Tang Soo Do poomse.
“… the best way to understand Karate-Do is not only to practice the kata but also to gain an appreciation of the meaning inherent in each of the various kata.”
Gichin Funakoshi
All of my martial arts instructors explained the meaning of the movements of each form as they taught it. But none of them emphasized visualizing an opponent during the execution of the form. And, in truth, they didn’t emphasize the “meaning inherent” in each movement. Usually, their explanations responded to student questions. They were intended to provide enough “inherent meaning” to end the questioning not to truly communicate the form.
This was true of even my best instructors. Partially, this comes from the knowledge that repetition is the heart of learning a physical skill – especially a martial art. There’s a common saying in the martial arts that it takes a thousand repetitions to master a form.
I arrived at visualization in a roundabout way. After reading about visualization techniques used to enhance the performance of college and Olympic athletes, I looked for and found other visualization references. I made the connection to my martial arts and incorporated into each phase of every kata visualizing an opponent attacking me in a specific way.
Visualization trains my mind to recognize an attack and to respond automatically with an appropriately drilled defense-counterattack sequence. It also sharpens my techniques during the kata because each technique must reasonably succeed in my imagination. If there is no visualized opponent, there is no standard for measuring the technique’s effectiveness. Therein lays sloppiness.
Reading Funakoshi’s words, quoted from “Karate-Do: My Way of Life” at the beginning of this post, filled me with satisfaction and disappointment. I was filled with satisfaction, because I uncovered Funakoshi’s connection between visualization and kata independently; disappointment because this teaching wasn’t faithfully passed down the years through my lines of instructors. In all the years I’ve trained in the martial arts none of my instructors taught visualization as an integral part of kata or solo drill – I had to rediscover it for myself.
Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"
Wednesday, February 3, 2010
Wednesday, January 27, 2010
Karate-Do: My Way of Life – Empty Hand
Karate was originally written using the Chinese characters for “China” (literally “Tang dynasty” which came to mean “China”) and “hand”. Gichin Funakoshi writes in his autobiography that the “China hand” version was used most often when he studied karate in Okinawa. Occasionally, however, karate was written using the Chinese character for “empty”; both characters are pronounced “kara”.
After Master Funakoshi began teaching karate in Tokyo he was an active advocate for using the “empty hand” version of kara-te. Funakoshi’s opinion was that “empty hand” better described the martial art in a number of ways.
First, “China hand” was inappropriate because, over many decades, Okinawan Karate-Do evolved away from Chinese Kempo. The differences are enough that, watching a sparring match between a Karate-ka and a Kempo practitioner, a casual observer would easily see that the combatants trained in different martial arts.
Second, although Karate-Do teaches the use of certain old Okinawan farm implements as weapons, Karate-Do is primarily about unarmed combat with “empty hands”.
Third, Funakoshi insists that karate students, “… aim not only toward perfecting their chosen art but also toward emptying heart and mind of all earthly desire and vanity.”
Fourth, there is yet another Chinese character pronounced “kara”. This third “kara” means “void” and is commonly found in Buddhist writings in phrases such as “matter is void”. Funakoshi writes, “Believing with the Buddhists that it is emptiness, the void, that lies at the heart of all matter and indeed of all creation, I have steadfastly persisted in the use of that particular character in my naming of the martial art to which I have given my life.”
And so, “China hand” karate became “empty hand” karate. By the time World War II ended and Americans began to study Karate-Do the “empty hand” version was widely accepted - except perhaps in Korea.
The first martial art I studied was Tang Soo Do, a Korean style of karate. “Tang Soo Do translates as “the way of the China hand” whereas “Karate-Do” written using the Chinese character for “China” translates as “the way of the China hand”. Many Tang Soo Do “pumse” (forms or “kata” in Japanese) share the same names as forms mentioned by Funakoshi, i.e. Pinan, Naifanchi, Chinto, & Bassai. This, of course, leads one to conclude that the two styles share a common Okinawan origin, despite the 2,000 year history claimed for Tang Soo Do.
Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"
After Master Funakoshi began teaching karate in Tokyo he was an active advocate for using the “empty hand” version of kara-te. Funakoshi’s opinion was that “empty hand” better described the martial art in a number of ways.
First, “China hand” was inappropriate because, over many decades, Okinawan Karate-Do evolved away from Chinese Kempo. The differences are enough that, watching a sparring match between a Karate-ka and a Kempo practitioner, a casual observer would easily see that the combatants trained in different martial arts.
Second, although Karate-Do teaches the use of certain old Okinawan farm implements as weapons, Karate-Do is primarily about unarmed combat with “empty hands”.
Third, Funakoshi insists that karate students, “… aim not only toward perfecting their chosen art but also toward emptying heart and mind of all earthly desire and vanity.”
Fourth, there is yet another Chinese character pronounced “kara”. This third “kara” means “void” and is commonly found in Buddhist writings in phrases such as “matter is void”. Funakoshi writes, “Believing with the Buddhists that it is emptiness, the void, that lies at the heart of all matter and indeed of all creation, I have steadfastly persisted in the use of that particular character in my naming of the martial art to which I have given my life.”
And so, “China hand” karate became “empty hand” karate. By the time World War II ended and Americans began to study Karate-Do the “empty hand” version was widely accepted - except perhaps in Korea.
The first martial art I studied was Tang Soo Do, a Korean style of karate. “Tang Soo Do translates as “the way of the China hand” whereas “Karate-Do” written using the Chinese character for “China” translates as “the way of the China hand”. Many Tang Soo Do “pumse” (forms or “kata” in Japanese) share the same names as forms mentioned by Funakoshi, i.e. Pinan, Naifanchi, Chinto, & Bassai. This, of course, leads one to conclude that the two styles share a common Okinawan origin, despite the 2,000 year history claimed for Tang Soo Do.
Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"
Wednesday, January 20, 2010
Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi
Gichin Funakoshi was the Okinawan Karate Master largely responsible for popularizing karate throughout mainland Japan. In his autobiography, "Karate-Do: My Way of Life", Master Funakoshi shares with us not only his life story, but insights into his understanding of the martial arts. In this series I've attempted to summarize and compartmentalize those things I've personally learned from reading his book. I recommend that you too read the original.
Links to Other Posts in the Special Report: Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi:
Karate-Do: My Way of Life - By Gichin Funakoshi
Karate-Do: My Way of Life - Origins of Karate
Karate-Do: My Way of Life - Empty Hand
Karate-Do: My Way of Life - Visualization
Karate-Do: My Way of Life - Rules
Karate-Do: My Way of Life - Gratitude
Karate-Do: My Way of Life - Humility
Links to Other Posts in the Special Report: Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi:
Karate-Do: My Way of Life - By Gichin Funakoshi
Karate-Do: My Way of Life - Origins of Karate
Karate-Do: My Way of Life - Empty Hand
Karate-Do: My Way of Life - Visualization
Karate-Do: My Way of Life - Rules
Karate-Do: My Way of Life - Gratitude
Karate-Do: My Way of Life - Humility
Karate-Do: My Way of Life – Origins of Karate
There are many stories and myths describing the origins of martial arts including Okinawan karate. It’s a testament to the character of Gichin Funakoshi (1868 to 1957) that he doesn’t perpetuate any of the myths.
Master Funakoshi begins his discussion of the origins of Okinawan karate with these words,
“Inasmuch as there is virtually no written material on the early history, we do not know who invented and developed it, nor even, for that matter, where it originated and evolved. Its earliest history may only be inferred from ancient legends that have been handed down to us by word of mouth, and they, like most legends, tend to be imaginative and probably inaccurate.”
Funakoshi conjectures that karate was introduced through trade contacts with China. As late as the 1920’s the characters used to represent kara-te in Japanese were the characters for “China” (pronounced “kara”) and the character for “hand” (pronounced “te”). In later years people began to use the Japanese character meaning “empty” (also pronounced “kara”). Funakoshi witnessed this transition in his lifetime. He notes that for many years both versions of the word, “China hand” and “empty hand” were used; sometimes by the same people.
Another certainty about the origins of Okinawan karate is that the people were ordered disarmed by their government. Apparently, this order was first issued by the local Okinawan government before the island was incorporated into the Empire of Japan. So karate developed as the people’s primary method of self-defense.
Later the Japanese government outlawed the teaching of karate and the art moved underground – being taught discretely, mostly at night. Again, Gichin Funakoshi experienced this first hand. Teaching Karate was still illegal when Funakoshi started training as a child. The proscription was lifted when he was a young man.
It seems that although karate was illegal in Okinawa for many decades, it was a commonly ignored law; kind of like speed limit laws – many people violated the law and even the authorities turned a blind eye to the practice of karate as long as the training was not blatant.
In any event, by the time Gichin Funakoshi was a young man the law was revoked. Karate was practiced openly and demonstrations were soon organized for Japanese Naval officers.
Master Funakoshi tells us what he knows about the origins of karate and he tells us what he conjectures about it. He is, being a man of integrity, also careful to tell us the difference between what he knows and what he conjectures.
Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"
Master Funakoshi begins his discussion of the origins of Okinawan karate with these words,
“Inasmuch as there is virtually no written material on the early history, we do not know who invented and developed it, nor even, for that matter, where it originated and evolved. Its earliest history may only be inferred from ancient legends that have been handed down to us by word of mouth, and they, like most legends, tend to be imaginative and probably inaccurate.”
Funakoshi conjectures that karate was introduced through trade contacts with China. As late as the 1920’s the characters used to represent kara-te in Japanese were the characters for “China” (pronounced “kara”) and the character for “hand” (pronounced “te”). In later years people began to use the Japanese character meaning “empty” (also pronounced “kara”). Funakoshi witnessed this transition in his lifetime. He notes that for many years both versions of the word, “China hand” and “empty hand” were used; sometimes by the same people.
Another certainty about the origins of Okinawan karate is that the people were ordered disarmed by their government. Apparently, this order was first issued by the local Okinawan government before the island was incorporated into the Empire of Japan. So karate developed as the people’s primary method of self-defense.
Later the Japanese government outlawed the teaching of karate and the art moved underground – being taught discretely, mostly at night. Again, Gichin Funakoshi experienced this first hand. Teaching Karate was still illegal when Funakoshi started training as a child. The proscription was lifted when he was a young man.
It seems that although karate was illegal in Okinawa for many decades, it was a commonly ignored law; kind of like speed limit laws – many people violated the law and even the authorities turned a blind eye to the practice of karate as long as the training was not blatant.
In any event, by the time Gichin Funakoshi was a young man the law was revoked. Karate was practiced openly and demonstrations were soon organized for Japanese Naval officers.
Master Funakoshi tells us what he knows about the origins of karate and he tells us what he conjectures about it. He is, being a man of integrity, also careful to tell us the difference between what he knows and what he conjectures.
Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"
Wednesday, January 13, 2010
Karate-Do: My Way of Life – by Gichin Funakoshi
Gichin Funakoshi is the founder of Shotokan Karate, although he would be disappointed to hear that. He opposed the notion of different styles of karate preferring one unified - but open to change - Karate-Do.
“Karate-Do: My Way of Life” is Gichin Funakoshi’s (1868 to 1957) autobiography written in the last years of his life.
Studying karate, raising a family, and making a living as a school teacher dominated the first half, the Okinawa half, of Master Funakoshi’s life.
Then, he found his purpose – to introduce and popularize karate throughout Japan. He moved to Tokyo, where he struggled for many years; keeping faith with his purpose. Finally, he succeeded in establishing Karate-Do as an accepted part of Japan’s martial arts tradition
In his autobiography, Gichin Funakoshi narrates a number of his formative events illustrating the spirit of karate-do as he understands it. He uses the narrations to instruct the reader in these principles.
Subsequent posts will present Master Funakoshi’s narratives and their verbal illustrations of the spirit of Karate-Do.
Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"
“Karate-Do: My Way of Life” is Gichin Funakoshi’s (1868 to 1957) autobiography written in the last years of his life.
Studying karate, raising a family, and making a living as a school teacher dominated the first half, the Okinawa half, of Master Funakoshi’s life.
Then, he found his purpose – to introduce and popularize karate throughout Japan. He moved to Tokyo, where he struggled for many years; keeping faith with his purpose. Finally, he succeeded in establishing Karate-Do as an accepted part of Japan’s martial arts tradition
In his autobiography, Gichin Funakoshi narrates a number of his formative events illustrating the spirit of karate-do as he understands it. He uses the narrations to instruct the reader in these principles.
Subsequent posts will present Master Funakoshi’s narratives and their verbal illustrations of the spirit of Karate-Do.
Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"
Wednesday, January 6, 2010
A Different Christmas Poem
A Different Christmas Poem
The embers glowed softly, and in their dim light,
I gazed round the room and I cherished the sight.
My wife was asleep, her head on my chest,
My daughter beside me, angelic in rest.
Outside the snow fell, a blanket of white,
Transforming the yard to a winter delight.
The sparkling lights in the tree I believe,
Completed the magic that was Christmas Eve.
My eyelids were heavy, my breathing was deep,
Secure and surrounded by love I would sleep.
In perfect contentment, or so it would seem,
So I slumbered, perhaps I started to dream.
The sound wasn't loud, and it wasn't too near,
But I opened my eyes when it tickled my ear..
Perhaps just a cough, I didn't quite know,
Then the sure sound of footsteps outside in the snow.
My soul gave a tremble, I struggled to hear,
And I crept to the door just to see who was near.
Standing out in the cold and the dark of the night,
A lone figure stood, his face weary and tight.
A soldier, I puzzled, some twenty years old,
Perhaps a Marine, huddled here in the cold.
Alone in the dark, he looked up and smiled,
Standing watch over me, and my wife and my child.
"What are you doing?" I asked without fear,
"Come in this moment, it's freezing out here!
Put down your pack, brush the snow from your sleeve,
You should be at home on a cold Christmas Eve!"
For barely a moment I saw his eyes shift,
Away from the cold and the snow blown in drifts..
To the window that danced with a warm fire's light
Then he sighed and he said "Its really all right,
I'm out here by choice. I'm here every night."
"It's my duty to stand at the front of the line,
That separates you from the darkest of times.
No one had to ask or beg or implore me,
I'm proud to stand here like my fathers before me.
My Gramps died at ' Pearl on a day in December,
"Then he sighed, "That's a Christmas 'Gram always remembers."
My dad stood his watch in the jungles of ' Nam ',
And now it is my turn and so, here I am.
I've not seen my own son in more than a while,
But my wife sends me pictures, he's sure got her smile.
Then he bent and he carefully pulled from his bag,
The red, white, and blue... an American flag.
I can live through the cold and the being alone,
Away from my family, my house and my home.
I can stand at my post through the rain and the sleet,
I can sleep in a foxhole with little to eat.
I can carry the weight of killing another,
Or lay down my life with my sister and brother..
Who stand at the front against any and all,
To ensure for all time that this flag will not fall.."
"So go back inside," he said, "harbor no fright,
Your family is waiting and I'll be all right."
"But isn't there something I can do, at the least,
"Give you money," I asked, "or prepare you a feast?
It seems all too little for all that you've done,
For being away from your wife and your son."
Then his eye welled a tear that held no regret,
"Just tell us you love us, and never forget.
To fight for our rights back at home while we're gone,
To stand your own watch, no matter how long.
For when we come home, either standing or dead,
To know you remember we fought and we bled.
Is payment enough, and with that we will trust,
That we mattered to you as you mattered to us."
******************************
LCDR Jeff Giles, SC, USN
30th Naval Construction Regiment
OIC, Logistics Cell One
Al Taqqadum, Iraq
The embers glowed softly, and in their dim light,
I gazed round the room and I cherished the sight.
My wife was asleep, her head on my chest,
My daughter beside me, angelic in rest.
Outside the snow fell, a blanket of white,
Transforming the yard to a winter delight.
The sparkling lights in the tree I believe,
Completed the magic that was Christmas Eve.
My eyelids were heavy, my breathing was deep,
Secure and surrounded by love I would sleep.
In perfect contentment, or so it would seem,
So I slumbered, perhaps I started to dream.
The sound wasn't loud, and it wasn't too near,
But I opened my eyes when it tickled my ear..
Perhaps just a cough, I didn't quite know,
Then the sure sound of footsteps outside in the snow.
My soul gave a tremble, I struggled to hear,
And I crept to the door just to see who was near.
Standing out in the cold and the dark of the night,
A lone figure stood, his face weary and tight.
A soldier, I puzzled, some twenty years old,
Perhaps a Marine, huddled here in the cold.
Alone in the dark, he looked up and smiled,
Standing watch over me, and my wife and my child.
"What are you doing?" I asked without fear,
"Come in this moment, it's freezing out here!
Put down your pack, brush the snow from your sleeve,
You should be at home on a cold Christmas Eve!"
For barely a moment I saw his eyes shift,
Away from the cold and the snow blown in drifts..
To the window that danced with a warm fire's light
Then he sighed and he said "Its really all right,
I'm out here by choice. I'm here every night."
"It's my duty to stand at the front of the line,
That separates you from the darkest of times.
No one had to ask or beg or implore me,
I'm proud to stand here like my fathers before me.
My Gramps died at ' Pearl on a day in December,
"Then he sighed, "That's a Christmas 'Gram always remembers."
My dad stood his watch in the jungles of ' Nam ',
And now it is my turn and so, here I am.
I've not seen my own son in more than a while,
But my wife sends me pictures, he's sure got her smile.
Then he bent and he carefully pulled from his bag,
The red, white, and blue... an American flag.
I can live through the cold and the being alone,
Away from my family, my house and my home.
I can stand at my post through the rain and the sleet,
I can sleep in a foxhole with little to eat.
I can carry the weight of killing another,
Or lay down my life with my sister and brother..
Who stand at the front against any and all,
To ensure for all time that this flag will not fall.."
"So go back inside," he said, "harbor no fright,
Your family is waiting and I'll be all right."
"But isn't there something I can do, at the least,
"Give you money," I asked, "or prepare you a feast?
It seems all too little for all that you've done,
For being away from your wife and your son."
Then his eye welled a tear that held no regret,
"Just tell us you love us, and never forget.
To fight for our rights back at home while we're gone,
To stand your own watch, no matter how long.
For when we come home, either standing or dead,
To know you remember we fought and we bled.
Is payment enough, and with that we will trust,
That we mattered to you as you mattered to us."
******************************
LCDR Jeff Giles, SC, USN
30th Naval Construction Regiment
OIC, Logistics Cell One
Al Taqqadum, Iraq
Tuesday, December 29, 2009
The Cane: Part 12 – The Lunge
One-hand cane thrusts can kill or seriously injure an opponent when directed at a vital point. They extend your reach and range and add an element of surprise when the primary method of fighting is based on cuts. For all of these reasons one-hand thrusts should be in your repertoire.
Four basic lunge variations can be combined with the one-hand thrust.
(1) Forward Hand Straight Lunge
(2) Forward Hand Reverse Lunge
(3) Rearward Hand Straight Lunge
(4) Rearward Hand Reverse Lunge
Forward Hand Straight Lunge
The Forward Hand Straight Lunge starts from a one-hand cane forward guard stance. It’s executed by pushing off the rear foot, stepping forward with the front foot, and extending the cane “thru” the target. This lunge is the classis fencing lunge. The depth of the lunge – the distance between the front and rear feet at full extension – is determined by the distance to the target and your ability to recover from the lunge. At full extension, the knee of the forward leg is directly beneath the elbow of the ex
tended cane arm.
In general, deep sport fencing style lunges are not recommended because most people recover from them too slowly and since the cane is unlikely to finish the opponent instantly you must assume your opponent will be capable of a counter-attack even if your thrust is well placed.
But, shallower lunges are very appropriate and may be combined with advancing steps to close longer distances.
Forward Hand Reverse Lunge
The Forward Hand Reverse Lunge starts from a one-hand cane forward guard stance. It’s executed by stepping forward with the rear foot, pushing off the former front foot into the lunge, and extending the cane “thru” the target.
Reverse lunges are notable in that the forward foot in the fully extended lunge position is the foot opposite from the cane hand. This lunge develops a bit slower but covers a greater distance with the same degree of extension – depth of lunge.
Rearward Hand Straight Lunge
The Rearward Hand Straight Lunge starts from a one-hand cane rearward guard stance. It’s
executed by stepping forward with the rear foot, pushing off the former front foot into the lunge, and extending the cane “thru” the target.
This is the same motion pattern as in the Forward Hand Reverse Lunge. However, because the cane is held in the rearward hand, the cane arm and the stepping and lunging leg are on the same side of the body and the end result is a classic lunge extension with the knee of the forward leg directly beneath the elbow of the extended cane arm.
The Rearward Hand Straight Lunge also covers approximately the same distance as the Forward Hand Reverse Lunge. And, because of the greater distance traveled by the cane tip (from the rear hand position to a front hand lunge) along with the natural twisting of the torso inherent in this motion this is the most powerful of the four basic lunges. It delivers the greatest amount of kinetic energy to the target.
Rearward Hand Reverse Lunge
The Rearward Hand Reverse Lunge starts from a one-hand cane rearward guard stance. It’s executed by pushing off the rear foot, stepping forward with the front foot, and extending the cane “thru” the target. This is the same motion as in the Forward Hand Straight Lunge, however, because the cane in held in the hand opposite to the lunging foot the end position is the same as in the Rearward Hand Straight Lunge.
In this lunge the cane tip travels about the same distance as in the Forward Hand Reverse Lunge. But, since the cane tip starts from the rear hand position the total reach of the Rearward Hand Reverse Lunge is the shortest of the four basic lunges.
Below the four lunges are ranked by reach from longest reach to shortest reach (for the same depth of lunge):
1st. Rearward Hand Straight Lunge
2nd. Forward Hand Straight Lunge
3rd. Forward Hand Reverse Lunge
4th. Rearward Hand Reverse Lunge
Rank them by power yields the same order, but ranking them by quickness of execution results in the following order:
1st. Forward Hand Straight Lunge
2nd. Rearward Hand Reverse Lunge
3rd. Forward Hand Reverse Lunge
4th. Rearward Hand Straight Lunge
Link to Other Topics in the Special Report: The Neko Ryu Cane
Four basic lunge variations can be combined with the one-hand thrust.
(1) Forward Hand Straight Lunge
(2) Forward Hand Reverse Lunge
(3) Rearward Hand Straight Lunge
(4) Rearward Hand Reverse Lunge
Forward Hand Straight Lunge
The Forward Hand Straight Lunge starts from a one-hand cane forward guard stance. It’s executed by pushing off the rear foot, stepping forward with the front foot, and extending the cane “thru” the target. This lunge is the classis fencing lunge. The depth of the lunge – the distance between the front and rear feet at full extension – is determined by the distance to the target and your ability to recover from the lunge. At full extension, the knee of the forward leg is directly beneath the elbow of the ex
tended cane arm.In general, deep sport fencing style lunges are not recommended because most people recover from them too slowly and since the cane is unlikely to finish the opponent instantly you must assume your opponent will be capable of a counter-attack even if your thrust is well placed.
But, shallower lunges are very appropriate and may be combined with advancing steps to close longer distances.
Forward Hand Reverse Lunge
The Forward Hand Reverse Lunge starts from a one-hand cane forward guard stance. It’s executed by stepping forward with the rear foot, pushing off the former front foot into the lunge, and extending the cane “thru” the target.
Reverse lunges are notable in that the forward foot in the fully extended lunge position is the foot opposite from the cane hand. This lunge develops a bit slower but covers a greater distance with the same degree of extension – depth of lunge.
Rearward Hand Straight Lunge
The Rearward Hand Straight Lunge starts from a one-hand cane rearward guard stance. It’s
executed by stepping forward with the rear foot, pushing off the former front foot into the lunge, and extending the cane “thru” the target.This is the same motion pattern as in the Forward Hand Reverse Lunge. However, because the cane is held in the rearward hand, the cane arm and the stepping and lunging leg are on the same side of the body and the end result is a classic lunge extension with the knee of the forward leg directly beneath the elbow of the extended cane arm.
The Rearward Hand Straight Lunge also covers approximately the same distance as the Forward Hand Reverse Lunge. And, because of the greater distance traveled by the cane tip (from the rear hand position to a front hand lunge) along with the natural twisting of the torso inherent in this motion this is the most powerful of the four basic lunges. It delivers the greatest amount of kinetic energy to the target.
Rearward Hand Reverse Lunge
The Rearward Hand Reverse Lunge starts from a one-hand cane rearward guard stance. It’s executed by pushing off the rear foot, stepping forward with the front foot, and extending the cane “thru” the target. This is the same motion as in the Forward Hand Straight Lunge, however, because the cane in held in the hand opposite to the lunging foot the end position is the same as in the Rearward Hand Straight Lunge.
In this lunge the cane tip travels about the same distance as in the Forward Hand Reverse Lunge. But, since the cane tip starts from the rear hand position the total reach of the Rearward Hand Reverse Lunge is the shortest of the four basic lunges.
Below the four lunges are ranked by reach from longest reach to shortest reach (for the same depth of lunge):
1st. Rearward Hand Straight Lunge
2nd. Forward Hand Straight Lunge
3rd. Forward Hand Reverse Lunge
4th. Rearward Hand Reverse Lunge
Rank them by power yields the same order, but ranking them by quickness of execution results in the following order:
1st. Forward Hand Straight Lunge
2nd. Rearward Hand Reverse Lunge
3rd. Forward Hand Reverse Lunge
4th. Rearward Hand Straight Lunge
Link to Other Topics in the Special Report: The Neko Ryu Cane
Tuesday, December 22, 2009
Thursday, December 17, 2009
The Cane: Part 11 – One Hand Thrust
Most instructional manuals on stick fighting tell you that the stick is a striking or cutting weapon – not useful for thrusting. Then, later in the book, in discussions about practice stick fighting with a partner you’re warned against thrusting a stick at your partner because of the risk of injury.
It is precisely the risk of injury that makes one-hand thrusts an effective cane technique.
A one-hand cane thrust can kill or seriously injure an opponent when directed at a vital point such as the trachea (wind pipe), the forehead, eyes, or the bridge of the nose. It can also disrupt the opponent’s movement and balance when directed at the hollow under either clavicle (collar bone) or at the pelvis – the very top of the front of the thigh.
One-hand thrusts extend your reach and range and also add an element of surprise when the primary method of fighting is based on cuts.
For all of these reasons one-hand thrusts should be in your repertoire.
The Grip
On a crooked cane the best grip for a one-hand thrust is pistol-type grip at the crook’s shoulder. This grip allows a natural extension of your arm in line with the shaft of the cane and a natural position for the hand and wrist.
Execution
The thrust is executed by extending the arm to the target while simultaneously lunging in the direction of the target. To facilitate accuracy, full extension of the arm must be achieved before contact with the target.
Accuracy
Because the accuracy of a thrust is paramount, every cane training session should include practice thrusting at a small moving target. In fencing, this is known as “point control” and is just as essential with the cane as with the foil.
The Lunge
Four lunge variations can be combined with the one-hand thrust. They will be reviewed in the next post.
Link to Other Topics in the Special Report: The Neko Ryu Cane
It is precisely the risk of injury that makes one-hand thrusts an effective cane technique.
A one-hand cane thrust can kill or seriously injure an opponent when directed at a vital point such as the trachea (wind pipe), the forehead, eyes, or the bridge of the nose. It can also disrupt the opponent’s movement and balance when directed at the hollow under either clavicle (collar bone) or at the pelvis – the very top of the front of the thigh.
One-hand thrusts extend your reach and range and also add an element of surprise when the primary method of fighting is based on cuts.
For all of these reasons one-hand thrusts should be in your repertoire.
The Grip
On a crooked cane the best grip for a one-hand thrust is pistol-type grip at the crook’s shoulder. This grip allows a natural extension of your arm in line with the shaft of the cane and a natural position for the hand and wrist.
Execution
The thrust is executed by extending the arm to the target while simultaneously lunging in the direction of the target. To facilitate accuracy, full extension of the arm must be achieved before contact with the target.
Accuracy
Because the accuracy of a thrust is paramount, every cane training session should include practice thrusting at a small moving target. In fencing, this is known as “point control” and is just as essential with the cane as with the foil.
The Lunge
Four lunge variations can be combined with the one-hand thrust. They will be reviewed in the next post.
Link to Other Topics in the Special Report: The Neko Ryu Cane
Wednesday, December 9, 2009
The Cane: Part 10 – Backhand Horizontal Whip Cut
Like other whip cuts, the backhand horizontal whip cut “whips” around a loose grip on the crook of the cane while the arm rotates in a striking motion. Because it starts from the outside and also strikes to the outside this cut is only effective when combined with body motion (tai sabaki).
The backhand horizontal whip cut is a primary defensive strike. It’s initiated from a standard one hand cane rest position with the cane tip on the ground and a loose one hand grip on the crook - the normal position of a cane when used for support in walking or standing.
Because the cut is horizontal, a vertically oriented target is required for maximum effect. The natural targets of the horizontal whip cut are the side of the head, the naturally hanging or upraised arm (especially the elbow), or the leg (especially the knee or ankle).
To initiate the backhand horizontal whip cut begin a large arc from the shoulder moving the cane hand to the outside and up and further to the outside and through the target. As your upper arm makes its arc, your forearm straightens locking the elbow as the cane passes through the target. At the same time, the cane turns to the outside around your loose grip or wrist. Key to all of this movement is a simultaneous backward pivot step. The stepping foot (the foot on the same side of your body as the cane) moves back and toward your centerline and the pivoting foot turns to the inside around the ball of your big toe.
The pivot is toward the target and can be a 90° or as much as a 180° turn. The overall motion is similar to throwing a Frisbee sidearm but without cocking the arm in front of the chest.
Because of the multiple large arcs described by the cane, the forearm, the upper arm, and especially because the entire body pivots, the acceleration of the backhand vertical whip cut is very high and delivers a great deal of kinetic energy to the target.
Link to Other Topics in the Special Report: The Neko Ryu Cane
The backhand horizontal whip cut is a primary defensive strike. It’s initiated from a standard one hand cane rest position with the cane tip on the ground and a loose one hand grip on the crook - the normal position of a cane when used for support in walking or standing.
Because the cut is horizontal, a vertically oriented target is required for maximum effect. The natural targets of the horizontal whip cut are the side of the head, the naturally hanging or upraised arm (especially the elbow), or the leg (especially the knee or ankle).
To initiate the backhand horizontal whip cut begin a large arc from the shoulder moving the cane hand to the outside and up and further to the outside and through the target. As your upper arm makes its arc, your forearm straightens locking the elbow as the cane passes through the target. At the same time, the cane turns to the outside around your loose grip or wrist. Key to all of this movement is a simultaneous backward pivot step. The stepping foot (the foot on the same side of your body as the cane) moves back and toward your centerline and the pivoting foot turns to the inside around the ball of your big toe.
The pivot is toward the target and can be a 90° or as much as a 180° turn. The overall motion is similar to throwing a Frisbee sidearm but without cocking the arm in front of the chest.
Because of the multiple large arcs described by the cane, the forearm, the upper arm, and especially because the entire body pivots, the acceleration of the backhand vertical whip cut is very high and delivers a great deal of kinetic energy to the target.
Link to Other Topics in the Special Report: The Neko Ryu Cane
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