Hey everyone. It’s been awhile since we’ve done a giveaway, and I don’t want you to think I’m hoarding all the goods for myself. I wouldn’t do that. Although…it’s tempting…
Anyway – a milestone is approaching that I thought would be perfect for some prizes. The Ikigaiway Facebook Fanpage is rapidly approaching 5,000 fans. Honestly I didn’t think we would reach that mark for quite awhile yet, and I am very grateful to everyone who has shared ikigaway with friends and family. The Facebook page was created as an extension of the website so as to expand community potential and give everyone a chance to interact. My goal was to create a positive environment for martial artists of all backgrounds and the active members there have certainly helped in guiding that mission.
So, this particular contest will run between now and the time 5,000 is reached. To become eligible simply leave comments either here on the website or on the facebook page. Every comment you leave will get you an entrance vote into the contest. Every vote will be placed into a big randomization generator and the winners will be selected. Keep in mind the sooner 5,000 is reached the smaller the pool of contestants is likely to be (meaning a better chance for you to win).
BONUS: Help spread the love to qualify for the special prize. Use Facebook’s ‘suggest to friend‘ button, blog about ikigaiway, or do something else to help get the word out and let me know about it!
Cool? Alright, here are the prizes you’ll be gunning for:
Prize #1: Bushido Apparel Green Insignia T-Shirt
Bushido Apparel is a small, privately owned company that is making some top-notch products. The style and design of their T-shirts stand out amongst typical martial arts designs. The Green Insignia T Shirt is a fine mix of style and subtlety.
Prize #2: Rhino Equipment Bag and Gym Mat
This is a tough Rhino gym bag constructed out of silver vinyl. It features a large main compartment and mesh side compartments for dirty or wet gym clothes. The great thing about this bag is that it comes with a foldout gym mat that can be unrolled at a moment’s notice. (In the picture above there isn’t an actual smaller bag, that is just a different angle to see the size of the gym mat). Courtesy of Karatedepot.com.
Prize #3: Everlast Reflex Bag
This is a really cool training device, the Reflex Bag. To use this bag effectively you need a combination of quick hands, great footwork, and a strong sense of timing. In short it trains a lot of very important martial art elements at once. Here is a quick video of how the reflex bag looks in use. Courtesy of Karatedepot.com.
Special Prize: ProForce Thunder Heavy Bag
The Thunder Heavy Bag is an outstanding model that provides a fine balance of resistance and comfort. The vinyl surface can take abuse and the weight (70lbs) is perfect for martial artists of all shapes and sizes. This bag comes with an assembly chain and hook as well as beginner bag gloves. Courtesy of TheMMAZone.net.
Get started right away! Click through the link below and become fan, leave some comments, and suggest the page to your friends.
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How do you go about exploring an art fully without getting lost in it?
One of the most important elements of any martial art is being able to use it effectively at a moment’s notice. The techniques and methods of the art must be simple enough to ingrain in muscle memory for use when adrenaline pumps and mental decision making could be costly and difficult.
With that being the case it might seem like a mistake to dig deeply into an art or to allow for creative exploration. After all, you’re probably just obfuscating a technique that did what it needed to do in the first place. However, I have found that there is an important difference between simple techniques and techniques with deep simplicity.
Starting with Simplicity
Properly programming the body to maximum efficiency is a process that takes a lifetime. However, when a student first joins a school they really need to focus on the basics of how to move. It’s almost like learning how to walk again. The hands move in such a way, the legs in another way, the body weight shifts here and there…half the time the end goal for each class is to not trip over yourself.
Launching into the full complexity of an art right away is neither effective nor productive.
Drills like yakusoku kumite are often valuable to teach a person what it’s like to get “attacked” (even if it’s under strict controls) and how to program the body to respond.
Kata, sparring, and base level bunkai all help introduce the student to the ways in which they might defend themselves should trouble arrive.
The Fog of Complexity
As the years go by and students get exposed to the arts, they realize there might be more going on than previously suspected. Real altercations are rarely so organized as dojo drills, nor do they end as neatly as we might hope. Grappling, joint locking, pressure points, internal blending, dynamic striking, etc etc start to blip onto the radar as ways to improve overall skillset.
With so much out there it’s easy to get lost completely in the fog of technique collection and creative brainstorming.
Moving from simplicity to complexity is something that often inspires trepidation and hesitation (with very legitimate cause). Nobody wants to become the armchair Sensei who can spout off 20 different vital point techniques but couldn’t actually defend him/herself against Glass Joe from Punchout.
Furthermore, simple techniques with no particularly enhanced explanations still work. A kick to the groin and jab to the eyes requires very little tweaking. Why muck things up?
For me personally, deciding to jump into complexity came when I saw the depth of knowledge possessed by my instructors and how they translated it into their art. Instead of blocking an arm just to keep it from hitting me, I realized I could be activating a vital point for a devastating follow-up technique. Or I could be applying kuzushi at the same moment to off balance my attacker. Or perhaps I could be moving his centerline to make his next attack more predictable and therefore manageable, reducing (albeit never eliminating) the chaos of real combat.
Complexity invites you to explore the possibilities of human interaction.
The Depth of Simplicity
I wish I could tell you I’ve got everything figured out and the fog is gone, but that is woefully untrue. I keep my many limitations close in mind to make sure I don’t get lazy.
However, there are certain things I have been able to bring back to simplicity through depth of study. The amazing thing is that my muscle memory has not gone away, nor has my ability utilize mushin (no mind) in unpredictable situations. Instead I have been able to better understand how to improve the simplicity of my techniques and utilize complex ideas like pressure points, tuite, etc within the same movement that would have been a simple block or punch previously.
The point of breaking down bunkai (kata applications) into minute pieces is not to impress others with your 10,000 ideas, but to get a little taste of why all those possibilities work or don’t work. I have found many situations where I’ve said to myself “I better not do that again”, which is extremely valuable to discover in the safety of a dojo environment.
With deep simplicity the body learns how to improve height, distance, angle, stance, and timing in conjunction with a continuum of strikes, grabs, and manipulations. All of that sounds complex unless you’ve thoroughly explored it and reapplied it to habitual acts of physical violence, such as common pushes, punches, and grabs.
All of this amounts to not needing the construction of yakusoku kumite or kata or even padded sparring when you arrive in a moment of conflict, but being able to effectively handle live situations at any range and with little warning.
The following is a short clip taken from our IKKF Annual Training (2000) featuring Bill Hayes Sensei discussing a technique that starts out simple, but can be enhanced with depth of study and training. The technique is simple throughout but hardly the same from the beginning of the clip to the end.
(available here – http://fileserver.uechi-ryu.com/videos/hayes.wmv)
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Without bunkai (applications), kata is little more than pre-arranged dancing. The hands can be flowing in exciting and vibrant ways but if we never discover the meaning of the motion then our time would be much better spent hitting a heavy bag or sparring.
Bunkai is the key to developing useful and effective techniques preserved for us by those individuals who developed and tested them in fierce, life protection situations. Over the course of time much of the true meaning of these movements has either been lost or purposefully disguised. If your desire is to unlock some of the skills of our predecessors, you’ll need to know the right questions in order to find the best answers.
The following are seven things to ask yourself that might illuminate your kata in a different (and hopefully productive) way. These are in no particular order and are not prescriptive. Use some when you can and invent others.
1. Can I change the angle in which I address my opponent?
Many times during bunkai we assume that an opponent is coming straight from the front or from the sides, and that we must stay directly in front of them and try to defend. What happens if you cut a 45 degree angle during your technique? What if turning from left to right allowed you to arc around the same opponent instead of addressing a new one?
2. What came just before and what is coming right after?
When we learn kata, it generally occurs in a set cadence. Step1 – block up. Step2 – block down. Step3 – punch kiai! That being the case, our mind generally sections itself off in those little boxes. It is our job to look at what is occurring right before our current technique and right after and how the body moves from one to the next. Stringing techniques together makes for a more devastating outcome to your opponent.
3. Am I utilizing all of the technique or just the end piece?
Techniques are often more dynamic than we give them credit for. Take for example the knife hand block. When we perform a knife hand block we generally step somewhere, prep the block, and then shoot the block out. The block itself is what we use to defend against an attack, but what about all the stuff that came before it? Can’t we use that too? Can’t the body shift be used to off-balance or attack our opponent, and can’t the prep be used to either defend or attack?
4. Can I condense the number of opponents I have to face to get through my applications?
If you find yourself going through a dozen bad guys for your bunkai you may be too segmented. In order to mentally escape from a tricky technique we often dismiss the current bad guy and invite a new one in from a different direction. Worse yet, if we are using two hands at once and don’t really know what’s going on we might invite two bad guys to attack us at once from different directions. Multiple opponent training is valuable, but kata is not suggesting that GuyA is likely to kick low while GuyB punches from behind. Those scenarios are too unlikely and miss the real intent of what’s happening. Condense the number of opponents as much as possible.
5. Are my opponents behaving naturally and with likely techniques, or am I forcing them into increasingly unlikely scenarios?
Patrick McCarthy Sensei developed the acronym HAPV, or habitual acts of physical violence. The point of HAPV is to keep focused on the techniques you are most likely to encounter. Furthermore, the longer you make the string of actions done by your uke the more unlikely an actual attacker will follow that pattern. Therefore, when performing bunkai, we want our opponents acting as naturally as possible. If the opponent has to punch, step back punch, step back punch, step back block up and receive your strike, you’ve asked your uke to behave in a way they never would in real life.
6. Have I affected my opponent in a way that makes more technique work?
Let’s say you manage to block your opponent (so far so good). You then put them in a wrist lock or arm bar in order to control them. That progression seems very effective, especially after years of training, and generally works in the dojo. However, if you’ve ever come across a live opponent who is experiencing adrenaline dump you’ll know that manipulating that arm is extremely difficult. Your attempts to bar or lock it will be met with iron resistance and counter punches to your face. Always be sure to negatively affect your opponent as soon as possible, then go into more technique.
7. What is the emotional content of my encounter?
What kind of scenario is your kata taking place in? Is it a school yard pushing match? Is it a life or death home invasion? The emotional environment you place yourself in is going to alter your bunkai dramatically. Your technique may need to restrain or it may need to kill.
With all of these questions/problems/complications we have to address the concept of simplicity. In a real life altercation, your simplest and most effective techniques will be the ones that help you. Thinking about responses in the heat of the moment will keep you one step behind your opponent.
Why then bother with all of this business about bunkai? Shouldn’t we simply practice a series of basic, effective techniques and avoid the mental gymnastics?
The short term answer is yes. For the first 5-6 years of your training you need to become “brilliant at the basics”, as Bill Hayes Sensei would say. Without a rock solid foundation and instinctual integration of your style’s stances, punches, and basic techniques nothing else can be built firmly. However, once you do achieve that level of proficiency, you acquire the privilege of exploring your art even deeper and improving the way you go about your business.
Simple techniques practiced a certain way seem like the best option until you learn how to improve them. That doesn’t necessarily mean complicate them. Instead the goal is to find ways to improve your angle, distance, timing, striking locations, and technique progression in order to enhance what’s already been built. This style of study leads to an understanding of tichiki, or “what the hand is doing”, which can be used extemporaneously with great percentage of success.
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